NEGRO  FOLK  RHYMES 


NEGRO  FOLK  RHYMES 

Wise  and  Otherwise 
WITH  A  STUDY 

BY 
THOMAS  W.  TALLEY 

OF  FISK  UNIVERSITY 


KENNIKAT  PRESS,  INC. /PORT  WASHINGTON,  N.  Y. 


KENNIKAT  PRESS  SERIES  IN  NEGRO  CULTURE  AND  HISTORY 


NEGRO  FOLK  RHYMES 

Copyright  1922  by  The  Macaillan  Company 
Reissued  in  1968  by  Kennikat  Press 
Library  of  Congress  Catalog  Card  No:  68-25204 
Manufactured  in  the  United  States  of  America 


T3 


INTRODUCTION 

Of  the  making  of  books  by  individual  authors 
there  is  no  end;  but  a  cultivated  literary  taste 
among  the  exceptional  few  has  rendered  almost  im- 
possible the  production  of  genuine  folk-songs.  The 
spectacle,  therefore,  of  a  homogeneous  throng  of 
partly  civilized  people  dancing  to  the  music  of 
crude  instruments  and  evolving  out  of  dance-rhythm 
a  lyrical  or  narrative  utterance  in  poetic  form  is 
sufficiently  rare  in  the  nineteenth  century  to  chal- 
lenge immediate  attention.  In  Neffro  Folk  Rhymes 
is  to  be  found  no  inconsiderable  part  of  the  musical 
and  poetic  life-records  of  a  people;  the  compiler; 
presents  an  arresting  volume  which,  in  addition  to 
being  a  pioneer  and  practically  unique  in  its  field,  is 
as  nearly  exhaustive  as  a  sympathetic  understanding 
of  the  Negro  mind,  careful  research,  and  labor  of 
love  can  make  it.  Professor  Talley  of  Fisk  Uni- 
versity has  spared  himself  no  pains  in  collecting  and 
piecing  together  every  attainable  scrap  and  fragment 
of  secular  rhyme  which  might  help  in  adequately 
interpreting  the  inner  life  of  his  own  people, 
v 


INTRODUCTION 

Being  the  expression  of  a  race  in,  or  just  emerging 
from  bondage,  these  songs  may  at  first  seem  to 
some  readers  trivial  and  almost  wholly  devoid  of 
literary  merit.  In  phraseology  they  may  appear 
crude,  lacking  in  that  elegance  and  finish  ordinarily 
associated  with  poetic  excellence;  in  imagery  they 
are  at  times  exceedingly  winter-starved,  mediocre, 
common,  drab,  scarcely  ever  rising  above  the  un- 
happy environment  of  the  singers.  The  outlook 
upon  life  and  nature  is,  for  the  most  part,  one  of 
imaginative  simplicity  and  child-like  naivete;  super- 
stitions crowd  in  upon  a  worldly  wisdom  that  is 
elementary,  practical,  and  obvious;  and  a  warped 
and  crooked  human  nature,  developed  and  fostered 
by  circumstances,  shows  frequently  through  the  lines. 
What  else  might  be  expected?  At  the  time  when 
these  rhymes  were  in  process  of  being  created  the 
conditions  under  which  the  American  Negro  lived 
and  labored  were  not  calculated  to  inspire  him  with 
a  desire  for  the  highest  artistic  expression.  Re- 
stricted, cramped,  bound  in  unwilling  servitude,  he 
looked  about  him  in  his  miserable  little  world  to 
see  whatever  of  the  beautiful  or  happy  he  might 
find ;  that  which  he  discovered  \s  pathetically  slight, 
but,  such  as  it  is,  it  served  to  keep  alive  his  stunted 
artist-soul  under  the  most  adverse  circumstances. 
vi 


INTRODUCTION 

He  saw  the  sweet  pinks  under  a  blue  sky,  or  ob- 
served the  fading  violets  and  the  roses  that  fall,  as 
he  passed  to  a  tryst  under  the  oak  trees  of  a  forest, 
and  wrought  these  things  into  his  songs  of  love  and 
tenderness.  Friendless  and  otherwise  without  com- 
panionship he  lived  in  imagination  with  the  beasts 
and  birds  of  the  great  out-of-doors;  he  knew  per- 
sonally Mr.  Coon,  Brother  Rabbit,  Mr.  'Possum 
and  their  associates  of  the  wild ;  Judge  Buzzard  and 
Sister  Turkey  appealed  to  his  fancy  as  offering  ma- 
terial for  what  he  supposed  to  be  poetic  treatment. 
Wherever  he  might  find  anything  in  his  lowly  posi- 
tion which  seemed  to  him  truly  useful  or  beautiful, 
he  seized  upon  it  and  wove  about  it  the  sweetest 
song  he  could  sing.  The  result  is  not  so  much 
poetry  of  a  high  order  as  a  valuable  illustration  of 
the  persistence  of  artist-impulses  even  in  slavery. 

In  some  of  these  folk-songs,  however,  may  be 
found  certain  qualities  which  give  them  dignity  and 
worth.  They  are,  when  properly  presented,  rhyth- 
mical to  the  point  of  perfection.  I  myself  have 
heard  many  of  them  chanted  with  and  without  the 
accompaniment  of  clapping  hands,  stamping  feet, 
and  swaying  bodies.  Unfortunately  a  large  part  of 
their  liquid  melody  and  flexibility  of  movement  is 
lost  through  confinement  in  cold  print;  but  when 
vii 


INTRODUCTION 

they  are  heard  from  a  distance  on  quiet  summer 
nights  or  clear  Southern  mornings,  even  the  most 
fastidious  ear  is  satisfied  with  the  rhythmic  pulse 
of  them.  That  pathos  of  the  Negro  character  which 
can  never  be  quite  adequately  caught  in  words  or 
transcribed  in  music  is  then  augmented  and  intensi- 
fied by  the  peculiar  quality  of  the  Negro  voice,  rich 
in  overtones,  quavering,  weird,  cadenced,  throbbing 
with  the  sufferings  of  a  race.  Or  perhaps  that  well- 
developed  sense  of  humor  which  has,  for  more  than 
a  century,  made  ancestral  sorrows  bearable  finds 
fuller  expression  in  the  lilting  turn  of  a  note  than 
in  the  flashes  of  wit  which  abundantly  enliven  the 
pages  of  this  volume.  There  is  one  lyric  in  par- 
ticular which,  in  evident  sincerity  of  feeling,  simple 
and  unaffected  grace,  and  regularity  of  form,  appeals 
to  me  as  having  intrinsic  literary  value : 


She  hug'  me,  an'  she  kiss'  me, 
She  wrung  my  han'  an'  cried. 
She  said  I  wus  de  sweetes'  thing 
Dat  ever  lived  or  died. 


She  hug'  me  an'  she  kiss'  me. 
Oh  Heaben !    De  touch  o'  her  han'  1 
She  said  I  wus  de  puttiest  thing 
In  de  shape  o'  mortal  man. 

viii 


INTRODUCTION 

I  told  her  dat  I  love'  her, 
Dat  my  love  wus  bed-cord  strong; 
Den  I  axed  her  w'en  she'd  have  me, 
An'  she  jes'  say,  "Go  'long!" 

There  is  also  a  dramatic  quality  about  many 
of  these  rhymes  which  must  not  be  overlooked.  It 
has  long  been  my  observation  that  the  Negro  is 
possessed  by  nature  of  considerable,  though  not  as 
yet  highly  developed,  histrionic  ability;  he  takes 
delight  in  acting  out  in  pantomime  whatever  he 
may  be  relating  in  song  or  story.  It  is  not  sur- 
prising, then,  to  find  that  the  play-rhymes,  originat- 
ing from  the  "call"  and  "response,"  are  really 
little  dramas  when  presented  in  their  proper  set- 
tings. "Caught  By  The  Witch"  would  not  be  in- 
effective if,  on  a  dark  night,  it  were  acted  in  the 
vicinity  of  a  graveyard!  And  one  ballad — if  I 
may  be  permitted  to  dignify  it  by  that  name — called 
"Promises  of  Freedom"  is  characterized  by  an  un- 
adorned narrative  style  and  a  dramatic  ending 
which  are  associated  with  the  best  English  folk- 
ballads.  The  singer  tells  simply  and,  one  feels, 
with  a  grim  impersonality  of  how  his  mistress 
promised  to  set  him  free ;  it  seemed  as  if  she  would 
never  die — but  "she's  somehow  gone" !  His  master 
likewise  made  promises, 

ix 


INTRODUCTION 

Yes,  my  ole  Mosser  promise'  me  ; 
But  "his  papers"  didn't  leave  me  free. 
A  dose  of  pizen  he'pped  'im  along. 
May  de  Devil  preach  'is  funer'l  song. 

The  manner  of  this  conclusion  is  strikingly  like 
that  of  the  Scottish  balkd,  "Edward," 

The  curse  of  hell  frae  me  sail  ye  beir, 

Mither,  Mither, 

The  curse  of  hell  frae  me  sail  ye  beir, 
Sic  counseils  ye  gave  to  me  O. 

In  both  a  story  of  cruelty  is  suggested  in  a  single 
artistic  line  and  ended  with  startling,  dramatic 
abruptness. 

In  fact,  these  two  songs  probably  had  their 
ultimate  origin  in  not  widely  dissimilar  types  of 
illiterate,  unsophisticated  human  society.  Profes- 
sor Talley's  "Study  in  Negro  Folk  Rhymes,"  ap- 
pended to  this  volume  of  songs,  is  illuminating. 
One  may  not  be  disposed  to  accept  without  con- 
siderable modification  his  theories  entire;  still  his 
account  from  personal,  first-hand  knowledge  of  the 
beginnings  and  possible  evolution  of  certain  rhymes 
in  this  collection  is  apparently  authentic.  Here  we 
have  again,  in  the  nineteenth  century,  the  record 
of  a  singing,  dancing  people  creating  by  a  process 


INTRODUCTION 

approximating  communal  authorship  a  mass  of  verse 
embodying  tribal  memories,  ancestral  superstitions, 
and  racial  wisdom  handed  down  from  generation  to 
generation  through  oral  tradition.  These  are  gen- 
uine folk-songs — lyrics,  ballads,  rhymes — in  which 
are  crystallized  the  thought  and  feeling,  the  uni- 
versally shared  lore  of  a  folk.  Recent  theorizers 
on  poetic  origins  who  would  insist  upon  individual 
as  opposed  to  community  authorship  of  certain 
types  of  song-narrative  might  do  well  to  consider 
Professor  Talley's  characteristic  study.  And  stu- 
dents of  comparative  literature  who  love  to  recreate 
the  life  of  a  tribe  or  nation  from  its  song  and  story 
will  discover  in  this  collection  a  mine  of  interesting 
material. 

Fisk  University,  the  center  of  Negro  culture  in 
America,  is  to  be  congratulated  upon  having  initi- 
ated the  gathering  and  preservation  of  these  relics,  a 
valuable  heritage  from  the  past.  Just  how  impor- 
tant for  literature  this  heritage  may  prove  to  be 
will  not  appear  until  this  institution — and  others 
with  like  purposes — has  fully  developed  by  cul- 
tivation, training,  and  careful  fostering  the  artistic 
impulses  so  abundantly  a  part  of  the  Negro  char- 
acter. A  race  which  has  produced,  under  the  most 
disheartening  conditions,  a  mass  of  folk-poetry  such 
xi 


INTRODUCTION 

as  Negro  Folk  Rhymes  may  be  expected  to  create, 
with  unlimited  opportunities  for  self-development,  a 
literature  and  a  distinctive  music  of  superior  quality. 

WALTER  CLYDE  CURRY. 
Vanderbilt  University, 
September  30,   1921. 


Xll 


PART  I 
NEGRO  FOLK  RHYMES 


DANCE  RHYME  SECTION 
JONAH'S  BAND  PARTY 

SETCH  a  kickin'  up  san' !    Jonah's  Ban' ! 
Setch  a  kickin'  up  san' !     Jonah's  Ban' ! 
"Han's  up  sixteen !    Circle  to  de  right ! 
We's  gwine  to  git  big  eatin's  here  to-night." 

Setch  a  kickin'  up  san'!     Jonah's  Ban'! 
Setch  a  kickin'  up  san'!     Jonah's  Ban'! 
"Raise  yo'  right  foot,  kick  it  up  high, 
Knock  dat  *  Mobile  Buck  in  de  eye." 

Setch  a  kickin'  up  san'!     Jonah's  Ban'! 
Setch  a  kickin'  up  san'!     Jonah's  Ban'! 
"Stan'  up,  flat  foot,  *  Jump  dem  Bars! 
*  Karo  back'ards  lak  a  train  o'  kyars." 

Setch  a  kickin'  up  san'!     Jonah's  Ban'! 
Setch  a  kickin'  up  san'!     Jonah's  Ban'! 
"Dance  'round,  Mistiss,  show  'em  de  p'int; 
Dat  Nigger  don't  know  how  to  *  Coonjaint." 

*  These    are   dance   steps.     For   explanation   read  the 
Study  in  Negro  Folk  Rhymes. 

I 


NEGRO  FOLK  RHYMES 

LOVE  IS  JUST  A  THING  OF  FANCY 

LOVE  is  jes  a  thing  o'  fancy, 
Beauty's  jes  a  blossom; 
If  you  wants  to  git  yo'  finger  bit, 
Stick  it  at  a  'possum. 

Beauty,  it's  jes  skin  deep ; 
Ugly,  it's  to  de  bone. 
Beauty,  it'll  jes  fade  'way; 
But  Ugly'll  hoi'  'er  own. 

STILL  WATER  CREEK 

WAY  down  yon'er  on  Still  Water  Creek, 

I  got  stalded  an'  stayed  a  week. 

I  see'd  Injun  Puddin  and  Punkin  pie, 

But  de  black  cat  stick  'em  in  de  yaller  cat's  eye. 

'Way  down  yon'er  on  Still  Water  Creek, 
De  Niggers  grows  up  some  ten  or  twelve  feet. 
Dey  goes  to  bed  but  dere  hain't  no  use, 
Caze  deir  feet  sticks  out  f er  de  chickens  t*  roost. 

I  got  hongry  on  Still  Water  Creek, 
De  mud  to  de  hub  an'  de  hoss  britchin  v/eak. 
I  stewed  bullfrog  chitlins,  baked  polecat  pie; 
If  I  goes  back  dar,  I  sho's  gwine  to  die. 

2 


NEGRO  FOLK  RHYMES 

'POSSUM    UP   THE   GUM    STUMP 

'POSSUM  up  de  gum  stump, 
Dat  raccoon  in  de  holler; 
Twis'  'im  out,  an'  git  'im  down, 
An'  I'll  gin  you  a  half  a  doller. 

'Possum  up  de  gum  stump, 
Yes,  cooney  in  de  holler ; 
A  pretty  gal  down  my  house 
Jes  as  fat  as  she  can  waller. 

'Possum  up  de  gum  stump, 
His  jaws  is  black  an'  dirty; 
To  come  an'  kiss  you,  pretty  gal, 
I'd  run  lak  a  goobler  tucky. 

'Possum  up  de  gum  stump, 
A  good  man's  hard  to  fin' ; 
You'd  better  love  me,  pretty  gal, 
You'll  git  de  yudder  kin'. 


NEGRO  FOLK  RHYMES 

JOE    AND    MALINDA   JANE 

OLE  Joe  jes  swore  upon  'is  life 
He'd  make  Merlindy  Jane   'is  wife. 
Wen  she  hear  'im  up  'is  love  an'  tell, 
She  jumped  in  a  bar'l  o'  mussel  shell. 
She  scrape  'er  back  till  de  skin  come  off. 
Nex'  day  she  die  wid  de  Whoopin'  Cough. 

WALK,   TALK,    CHICKEN   WITH    YOUR 
HEAD  PECKED! 

WALK,  talk,  chicken  wid  yo'  head  pecked ! 
You  can  crow  w'en  youse  been   dead. 
Walk,  talk,  chicken  wid  yo'  head  pecked ! 
You  can  hoi'  high  yo'  bloody  head. 

You's  whooped  dat  Blue  Hen's  Chicken, 
You's  beat  'im  at  his  game. 
If  dere's  some  fedders  on  him, 
Fer  dat  you's  not  to  blame. 

Walk,  talk,  chicken  wid  yo'  head  pecked! 
You  beat  ole  Johnny  Blue! 
Walk,  talk,  chicken  wid  yo'  head  pecked! 
Say:     "Cock-a-doo-dle-doo— !" 
4 


NEGRO  FOLK  RHYMES 

TAILS 

DE  coon's  got  a  long  ringed  bushy  tail, 
De  'possum's  tail  is  bare ; 
Dat  rabbit  hain't  got  no  tail  'tall, 
'Cep'  a  liddle  bunch  o'  hair. 

De  gobbler's  got  a  big  fan  tail, 

De  pattridge's  tail  is  small ; 

Dat  peacock's  tail  's  got  great  big 

eyes, 
But  dey  don't  see  nothin'  'tall. 

CAPTAIN   DIME 

CAPPUN  Dime  is  a  fine  w'ite  man. 
He  wash  his  face  in  a  fry'n'  pan, 
He  comb  his  head  wid  a  waggin  wheel, 
An'  he  die  wid  de  toothache  in  his  heel. 

Cappun  Dime  is  a  mighty  fine  feller, 

An'  he  sho'  play  kyards  wid  de  Niggers  in 

de  cellar, 
But  he  will  git  drunk,  an'  he  won't  smoke  a 

pipe, 
Den  he  will  pull  de  watermillions  'fore  dey 

gits  ripe. 

5 


NEGRO  FOLK  RHYMES 

CROSSING    THE    RIVER 

I  WENT  down  to  de  river  an*  I  couldn'  git  'cross. 
I  jumped  on  er  mule  an'  I  thought  'e  wus  er  hoss. 
Dat  mule  'e  wa'k  in  an'  git  mired  up  in  de  san' ; 
You'd  oughter  see'd  dis  Nigger  make  back  fer  de 
Ian'! 

I  want  to  cross  de  river  but  I  caint  git  'cross  ; 
So  I  mounted  on  a  ram,  fer  I  thought  'e  wus  er  hoss. 
I  plunged  him  in,  but  he  sorter  fail  to  swim ; 
An'  I  give  five  dollars  fer  to  git  'im  out  ag'in. 

Yes,  I  went  down  to  de  river  an'  I  couldn'  git  'cross, 
So  I  give  a  whole  dollar  fer  a  ole  Win'  hoss; 
Den  I  souzed  him  in  an*  he  sink  'stead  o'  swim. 
Do  you  know  I  got  wet  clean  to  my  ole  hat  brim? 

T-U-TURKEY 

T-u,  tucky,  T-u,  ti. 
T-u,  tucky,  buzzard's  eye. 
T-u,  tucky,  T-u,  ting. 
T-u,  tucky,  buzzard's  wing. 
Oh,  Mistah  Washin'ton !  Don't  whoop  me, 
Whoop  dat  Nigger  Back  'hind  dat  tree. 
6 


NEGRO  FOLK  RHYMES 

He  stole  tucky,  I  didn'  steal  none. 
Go  wuk  him  in  de  co'n  field  jes  fer  fun. 


CHICKEN  IN  THE  BREAD  TRAY 

"AUNTIE,  will  yo'  dog  bite?"— 

"No,  Chile!    No!" 
Chicken  in  de  bread  tray 
A  makin*  up  dough. 

"Auntie,  will  yo'  broom  hit?" — 

"Yes,  Chile!"    Pop! 
Chicken  in  de  bread  tray; 
"Flop!    Flop!    Flop!" 

"Auntie,  will  yo'  oven  bake?" — 

"Yes.    Jes  fry!"— 
"What's  dat  chicken  good  fer?"— 
"Pie!     Pie!     Pie!" 

"Auntie,  is  yo'  pie  good  ?" — 

"Good  as  you  could  'spec'." 
Chicken  in  de  bread  tray; 
"Peck!     Peck!     Peck!" 


NEGRO  FOLK  RHYMES 

MOLLY    COTTONTAIL,    OR,    GRAVE- 
YARD   RABBIT 

OLE  Molly  Cottontail, 
At  night,  w'en  de  moon's  pale; 
You  don't  fail  to  tu'n  tail, 
You  always  gives  me  leg  bail.* 

Molly  in  de  Bramble-brier, 
Let  me  git  a  little  nigher; 
Prickly-pear,   it  sting  lak  fire! 
Do  please  come  pick  out  de  brier ! 

Molly  in  de  pale  moonlight, 
Yd'  tail  is  sho  a  pretty  white; 
You  takes  it  fer  'way  out'n  sight. 
"Molly!     Molly!     Molly  Bright!" 

Ole  Molly  Cottontail, 
You  sets  up  on  a  rotten  rail! 
You  tears  through  de  graveyard ! 
You  makes  dem  ugly  t  hants  wail. 

Ole  Molly  Cottontail, 

Won't  you  be  shore  not  to  fail 

*  Leg  bail  =  to  run  away. 

f  Hants  =  ghosts  or  spirits. 

8 


NEGRO  FOLK  RHYMES 

*  To  give  me  yd*  right  bin*  foot  ? 
My  luck,  it  won't  be  fer  sale. 


tJUBA 

JUBA  dis,  an'  Juba  dat, 

Juba  Jskin  dat  Yaller  Cat.    Juba!  Juba! 

Juba  jump  an'  Juba  sing. 

Juba,  Jcut  dat  Pigeon's  Wing.     Juba!  Juba! 

Juba,  kick  off  Juba's  shoe. 

Juba,  dance  dat  JJubal  Jew.     Juba!  Juba! 

Juba,  whirl  dat  foot  about. 

Juba,  blow  dat  candle  out.    Juba!    Juba! 

Juba  circle,  ^ Raise  de  Latch. 

Juba  do  dat  JLong  Dog  Scratch.    Juba!  Juba! 

*This  embraces  the  old  superstition  that  carrying  in 
one's  pocket  the  right  hind  foot  of  a  rabbit,  which  has 
habitually  lived  about  a  cemetery,  brings  good  luck  to  its 
possessor. 

fThis  peculiar  kind  of  dance  rhyme  is  explained  in  the 
Study  in  Negro  Folk  Rhymes. 

$  The  expressions  marked  $  are  various  kinds  of  dance 
steps. 


NEGRO  FOLK  RHYMES 


ON  TOP  OF  THE  POT 

WILD  goose  gallop  an'  gander  trot; 
Walk  about,  Mistiss,  on  top  o'  de  pot! 

Hog  jowl  bilin',  an'  tunnup  greens  hot, 
Walk  about,  Billie,  on  top  o'  de  pot! 

Chitlins,  hog  years,  all  on  de  spot, 
Walk  about,  ladies,  on  top  o'  de  pot! 


*  STAND  BACK,  BLACK  MAN 

Ohl 

STAN'  back,  black  man, 
You  cain't  shine; 
Yo'  lips  is  too  thick, 
An*  you  hain't  my  km*. 


*In  a  few  places  in  the  South,  just  following  the  Civil 
War,  the  Mulattoes  organized  themselves  into  a  little 
guild  known  as  "The  Blue  Vein  Circle,"  from  which 
those  who  were  black  were  excluded.  This  is  one  of 
their  rhymes. 

IO 


NEGRO  FOLK  RHYMES 

Aw! 

Git  'way,  black  man, 
You  jes  haint  fine; 
I'se  done  quit  foolin' 
Wid  de  nappy-headed  kind. 

Say? 

Stan'  back,  black  man! 
Cain't  you  see 
Dat  a  kinky-headed  chap 
Hain't  nothin'  side  o'  me? 


NEGROES  NEVER  DIE 

NIGGER!    Nigger  never  die! 

He  gits  choked  on  Chicken  pie. 

Black  face,  white  shiny  eye.    Nigger!    Nigger! 

Nigger!  Nigger  never  knows! 
Mashed  nose,  an'  crooked  toes; 
Dat's  de  way  de  Nigger  goes.  Nigger!  Nigger! 

Nigger!     Nigger  always  sing; 
Jump  up,  cut  de  Pidgeon's  wing; 
Whirl,  an'  give  his  feet  a  fling.    Nigger!    Nigger! 
II 


NEGRO  FOLK  RHYMES 

JAWBONE 

SAMSON,  shout!    Samson,  moan! 
Samson,  bring  on  yo'  Jawbone. 

Jawbone,  walk!    Jawbone,  talk! 
Jawbone,  eat  wid  a  knife  an  fo'k. 

Walk,  Jawbone!    Jinny,  come  alon'! 
Yon'er  goes  Sally  wid  de  bootees  on. 

Jawbone,   ring!     Jawbone,  sing! 
Jawbone,  kill  dat  wicked  thing. 

INDIAN    FLEA 

INJUN  flea,  bit  my  knee; 

Kaze  I  wouldn'  drink  ginger  tea. 

Flea  bite  hard,  flea  bite  quick  ; 
Flea  bite  burn  lak  dat  seed  tick. 

Hit  dat  flea,  flea  not  dere. 
I'se  so  mad  I  pulls  my  hair. 

I  go  wild  an'  fall  in  de  creek. 
To  wash  Mm  off,  I'd  stay  a  week. 
12 


NEGRO  FOLK  RHYMES 

AS  I  WENT  TO  SHILOH 

As  I  went  down 
To  Shiloh  Town; 
I  rolled  my  barrel  of  Sogrum  down. 
Dem  lasses  rolled  ; 
An'  de  hoops,  dey  bust; 
An*    blowed    dis    Nigger    clear    to 
Thundergust ! 

JUMP  JIM  CROW 

GIT  fus  upon  yo'  heel, 

An'  den  upon  yo'  toe; 

An  ebry  time  you  tu'n  'round, 

You  jump  Jim  Crow. 

Now  fall  upon  yo'  knees, 
Jump  up  an'  bow  low; 
An'  ebry  time  you  tu'n  'round, 
You  jump  Jim  Crow. 

Put  yo'  han's  upon  yo'  hips, 
Bow  low  to  yo'  beau; 
An'  ebry  time  you  tu'n  'round, 
You  jump  Jim  Crow. 
13 


DANCE  RHYME  SONG  SECTION 


1.  De  Jay -bird  jump  from     lim'  to     lim'     An' he 
(  Use  all  the  stanzas  of  "Jaybird"  ) 


_  -         * 

tell     Brer    Bab-bit       to     do    lak      him     Brer 


Brer  Rab  -  bit     say   to     de  cunnin'    ell    You  jes 


want     me     to    fall       an'      kill      my  -  se'f. 
CHORUS. 


I    loves     dem  short -en     gals!     I     loves  dem 

fr-f   J  J  |J.  JJ3VU  J  >- 

Short -en  gals!    Oh,  have  mer-cy     on    my  soul! 
JAYBIRD 

DE  Jaybird  jump  from  lim'  to  lim*, 
An'  he  tell  Br'er  Rabbit  to  do  lak  him. 

14 


NEGRO  FOLK  RHYMES 

Br'er  Rabbit  say  to  de  cunnin'  elf : 

"You  jes  want  me  to  fall  an*  kill  myself." 

Dat  Jaybird  a-settin'  on  a  swingin'  lim*. 
He  wink  at  me  an'  I  wink  at  him. 
He  laugh  at  me  w'en  my  gun  "crack." 
It  kick  me  down  on  de  flat  o'  my  back. 

Nex'  day  de  Jaybird  dance  dat  lim'. 
I  grabs  my  gun  fer  to  shoot  at  him. 
W'en  I  "crack"  down,  it  split  my  chin. 
"Ole  Aggie  Cunjer"  fly  lak  sin. 

Way  down  yon'er  at  de  risin'  sun, 
Jaybird  a-talkin'  wid  a  forked  tongue. 
*He's  been  down  dar  whar  de  bad  mens  dwell. 
"Ole  Friday  Devil,"  fare— you— well ! 


OFF   FROM    RICHMOND 

FSE  off  from  Richmon'  sooner  in  de  mornin*. 
I'se  off  from  Richmon'  befo'  de  break  o'  day. 
I  slips  off  from  Mosser  widout  pass  an'  warnin* 
Fer  I  mus'  see  my  Donie  wharever  she  may  stay. 

*A  superstition.    For  explanation,  see  Study  in  Negro 
Folk  Rhymes. 

15 


NEGRO  FOLK  RHYMES 

HE  IS  MY  HORSE 

ONE  day  as  I  wus  a-ridin'  by, 

Said  dey:    "Ole  man,  yo'  boss  will  die" — 

"If  he  dies,  he  is  my  loss; 

An'  if  he  lives,  he  is  my  boss." 

Nex'  day  w'en  I  come  a-ridin'  by, 

Dey  said :    "Ole  man,  yo'  boss  may  die."— 

"If  he  dies,  I'll  tan  'is  skin; 

An*  if  he  lives,  I'll  ride  'im  ag'in." 

Den  ag'in  w'en  I  come  a-ridin'  by, 
Said  dey:    "Ole  man,  yo'  boss  mought 
die."— 

"If  he  dies,  I'll  eat  his  co'n ; 

An'  if  he  lives,  I'll  ride  'im  on." 

*  JUDGE  BUZZARD 

DERE  sets  Jedge  Buzzard  on  de  Bench. 
Go  tu'n  him  off  wid  a  monkey  wrench! 
Jedge  Buzzard  try  Br'er  Rabbit's  case; 
An'  he  say  Br'er  Tarepin  win  dat  race. 
Here  sets  Jedge  Buzzard  on  de  Bench. 
Knock  him  off  wid  dat  monkey  wrench ! 
See  Study  in  Negro  Rhymes  for  explanation. 

16 


NEGRO  FOLK  RHYMES 


SHEEP   AND   GOAT 

SHEEP  an'  goat  gwine  to  de  paster; 
Says  de  goat  to  de  sheep :    "Cain't  you  walk  a  liddle 
faster?" 

De  sheep  says :    "I  cain't,  I'se  a  liddle  too  full." 
Den  de  goat  say:     "You  can  wid  my  ho'ns  in  yo' 
wool.1 


" 


But  de  goat  /all  down  an'  skin  'is  shin 

An'  de  sheep  split  'is  lip  wid  a  big  broad  grin. 

JACKSON,  PUT  THAT  KETTLE  ON! 

JACKSON,  put  dat  kittle  on ! 
Fire,  steam  dat  coffee  done! 
Day  done  broke,  an'  I  got  to  run 
Fer  to  meet  my  gal  by  de  risin'  sun. 

My  ole   Mosser  say  to  me, 
Dat  I  mus'  drink  *  sassf  ac  tea ; 
But  Jackson  stews  dat  coffee  done, 
An'  he  sho'  gits  his  po'tion:    Son! 
*  Sassf  ac  =  sassafras. 


NEGRO  FOLK  RHYMES 

DINAH'S   DINNER   HORN 

IT'S  a  col',  frosty  mornin', 
An'  de  Niggers  goes  to  wo'k; 
Wid  deir  axes  on  deir  shoulders, 
An'  widout  a  bit  o'  *  shu't. 

Dey's  got  ole  husky  ashcake, 
Widout  a  bit  o'  fat; 
An'  de  white  folks'll  grumble, 
If  you  eats  much  o'  dat. 

I  runs  down  to  de  henhouse, 
An'  I  falls  upon  my  knees; 
It's  'nough  to  make  a  rabbit  laugh 
To  hear  my  tucky  sneeze. 

I  grows  up  on  dem  meatskins, 
I  comes  down  on  a  bone; 
I  hits  dat  co'n  bread  fifty  licks, 
I  makes  dat  butter  moan. 

It's  glory  in  yo'  honor! 
An'  don't  you  want  to  go? 
I  sholy  will  be  ready 
Fer  dat  dinnah  ho'n  to  blow. 
*  Shu't  =  shirt. 

18 


NEGRO  FOLK  RHYMES 

Dat  ole  bell,  it  goes  "Bangity — 
bang!" 

Fer  all  dem  white  folks  bo'n. 
But  I'se  not  ready  fer  to  go 
Till  Dinah  blows  her  ho'n. 

"Poke— sallid !"  "Poke— sallid  1" 
Dat  ole  ho'n  up  an'  blow. 
Jes  think  about  dem  good  ole  greens! 
Say?    Don't  you  want  to  go? 


MY  MULE 

LAS'  Saddy  mornin'  Mosser  said : 
"Jump  up  now,  Sambo,  out'n  bed. 
Go  saddle  dat  mule,  an'  go  to  town; 
An'  bring  home  Mistiss'  mornin' 
gown." 

I  saddled  dat  mule  to  go  to  town. 
I  mounted  up  an'  he  buck'd  me  down. 
Den  I  jumped  up  from  out'n  de  dust, 
An'  I  rid  him  till  I  thought  he'd  bust. 


NEGRO  FOLK  RHYMES 

BULLFROG     PUT     ON     THE     SOLDIER 
CLOTHES 

BULLFROG  put  on  de  soldier  clo's. 

He  went  down  yonder  fer  to  shoot  at  de  crows; 

Wid  a  knife  an'  a  fo'k  between  'is  toes, 

An'  a  white  hankcher  fer  to  wipe  'is  nose. 

Bullfrog  put  on  de  soldier  clo's. 

He's   a   "dead   shore  shot,"    gwineter   kill   dem 
crows." 

He  takes  "Pot,"  an'  "Skillet"  from  de  Fid- 
dler's Ball. 

Dey're  to  dance  a  liddle  jig  while  Jim  Crow 
fall. 

Bullfrog  put  on  de  soldier  clo's. 

He  went  down  de  river  fer  to  shoot  at  de 

crows. 

De  powder  flash,  an'  de  crows  fly  'way  ; 
An'  de  Bullfrog  shoot  at  'em  all  nex'  day. 

SAIL  AWAY,   LADIES! 
SAIL  away,  ladies!     Sail  away! 
Sail  away,  ladies!     Sail  away! 
Nev'  min'  what  dem  white  folks  say, 
May  de  Mighty  bless  you.  Sail  away! 
20 


NEGRO  FOLK  RHYMES 

Nev'  min'  what  yo'  daddy  say, 
Shake  yo'  liddle  foot  an'  fly  away. 
Nev'  min'  if  yo'  mammy  say: 
"De  Devil'll  git  you."     Sail  away! 


THE  BANJO  PICKING 

HUSH  boys !    Hush  boys !    Don't  make  a  noise, 

While  ole  Mosser's  sleepin'. 

We'll  run  down  de  Graveyard,  an*  take  out 

de  bones, 
An'  have  a  liddle  Banjer  pickin'. 

I  takes  my  Banjer  on  a  Sunday  mornin'. 
Dem  ladies,  dey  'vites  me  to  come. 
We  slips  down  de  hill  an'  picks  de  liddle  chune : 
"Walk,  Tom  Wilson  Here  Afternoon." 

*"Walk  Tom  Wilson  Here  Afternoon"; 
"You  Cain't  Dance  Lak  ole  Zipp  Coon." 
Pick  *"Dinah's  Dinner  Ho'n"  "Dance  'Round 

de  Room." 
"Sweep  dat  Kittle  Wid  a  Bran'  New  Broom." 

*  Those  starred   are  found   elsewhere   in  this  volume. 
We  were  unable  to  obtain  the  other  three. 

21 


NEGRO  FOLK  RHYMES 


OLD   MOLLY  HARE 

OLE  Molly  bar'! 

What's  you  doin'  thar  ? 

"I'se  settin'  in  de  fence  comer,  smokin'  seegyar." 

Ole  Molly  bar'! 

What's  you  doin'  thar  ? 

"I'se  pickin'  out  a  br'or,  settin'  on  a  Pricky-p'ar." 

Ole  Molly  bar'! 

What's  you  doin'  thar? 

"I'se  gwine  cross  de  Cotton  Patch,  hard  as  I  can 


Molly  bar*  to-day, 

So  dey  all  say, 

Grot  her  pipe  o'  clay,  jes  to  smoke  de  time  'way. 

"De  dogs  say 'boo!' 

An'  dey  barks  too. 

I  hain't  got  no  time  fer  to  talk  to  you." 


22 


NEGRO  FOLK  RHYMES 

ONE  NEGRO  TUNE  USED  WITH  "AN  OPOSSUM 
HUNT" 


CHORUS. 


Pos-sum  meat  is    good  an' sweet, Charve  him  to    de 


heart      I       al  -  ways  finds    it    good    to     eat 

CHORUS. GENERAL  CHO. 

==fr J*— -=*  N     |     J-     ' 


Charve    him       to        de       heart      Charve      dat 


pos  -  sum!  Charve  dat  pos  -  sum!  Charve  dat 

^^S^^^q±±=| 


pos  -  sum!      Oh  charve  'im      to      de     heartl 
AN  OPOSSUM  HUNT 

TOSSUM  meat  is  good  an'  sweet, 
I  always  finds  it  good  to  eat. 
My  dog  tree,  I  went  to  see. 
A  great  big  'possum  up  dat  tree. 
I  retch  up  an'  pull  him  In, 
Den  dat  ole  'possum  'gin  to  grin. 
23 


NEGRO  FOLK  RHYMES 

I  tuck  him  home  an'  dressed  him 

off, 

Dat  night  I  laid  him  in  de  fros'. 
De     way    I    cooked    dat    'possum 

sound, 
I  fust  parboiled,  den  baked  him 

brown. 

I  put  sweet  taters  in  de  pan, 
'Twus  de  bigges'  eatin'  in  de  Ian*. 

DEVILISH    PIGS 

I  WISH  I  had  a  load  o'  poles, 

To  fence  my  new-groun'  lot; 

To  keep  dem  liddle  bitsy  debblish  pigs 

Frum  a-rootin'  up  all  I'se  got. 

Dey  roots  my  cabbage,  roots  my  co'n  ; 
Dey  roots  up  all  my  beans. 
Dey  speilt  my  fine  sweet-tater  patch, 
An*  dey  ruint  my  tunnup  greens. 

I'se  rund  dem  pigs,  an'  I'se  rund  dem 

pigs. 

I'se  gittin'  mighty  hot; 
An'  one  dese  days  w'en  nobody  look, 
Dey'll  root  'round  in  my  pot. 
24 


NEGRO  FOLK  RHYMES 

PROMISES   OF  FREEDOM 

MY  ole  Mistiss  promise  me, 
Wen  she  died,  she'd  set  me  free. 
She  lived  so  long  dat  'er  head  got  bal', 
An'  she  give  out'n  de  notion  a  dyin' 
at  all. 

My  ole  Mistiss  say  to  me: 
"Sambo,  I'se  gwine  ter  set  you  free." 
But  w'en  dat  head  git  slick  an'  bal', 
De  Lawd  couldn'  a'  killed  'er  wid 
a  big  green  maul. 

My  ole  Mistiss  never  die, 

Wid  'er  nose  all  hooked  an*  skin  all 

dry. 

But  my  ole  Miss,  she's  somehow  gone, 
An'  she  lef  "Uncle  Sambo"  a-hillin' 

up  co'n. 

Ole  Mosser  lakwise  promise  me, 
W'en  he  died,  he'd  set  me  free. 
But  ole  Mosser  go  an'  make  his  Will 
Fer  to  leave  me  a-plowin'  ole  Beck 
still. 

25 


NEGRO  FOLK  RHYMES 

Yes,  my  ole  Mosser  promise  me; 
But  "his  papers"  didn'  leave  me  free. 
A  dose  of  pizen  he'ped  'im  along. 
May  de  Devil  preach  'is  funer'l  song. 


WHEN   MY  WIFE  DIES 

WEN  my  wife  dies,  gwineter  git  me  anudder  one; 
A  big  fat  yaller  one,  jes  lak  de  yudder  one. 
I'll  hate  mighty  bad,  w'en  she's  been  gone. 
Hain't  no  better  'oman  never  nowhars  been  bo'n. 

W'en  I  comes  to  die,  you  mus'n'  bury  me  deep, 
But  put  Sogrum  molasses  close  by  my  feet. 
Put  a  pone  o'  co'n  bread  way  down  in  my  han'. 
Gwineter  sop  on  de  way  to  de  Promus'  Lan'. 

W'en  I  goes  to  die,  Nobody  mus'n'  cry, 
Mus'n'  dress  up  in  black,  fer  I  mought  come  back. 
But  w'en  Fse  been  dead,  an'  almos'  fergotten; 
You  mought  think  about  me  an'  keep  on  a-trottin'. 

Railly,  w'en  I'se  been  dead,  you  needn'  bury  me 

at  tall. 

You  mought  pickle  my  bones  down  in  alkihall ; 
Den  fold  my  han's  "so,"  right  across  my  breas'; 
An*  go  an'  tell  de  folks  I'se  done  gone  to  "res'." 
26 


NEGRO  FOLK  RHYMES 

ONE  TUNE  USED  WITH  "BAA!  BAA!  BLACK 
SHEEP!" 


Baa!    Baa!  Black  Sheep.  Has    yon     got     wool? 

4 

Yes       good     Mos  -    ser       three       bags     rail 


One      fer      ole  Mis-tess      One     fer     Miss  Dame 

f         jg^jj^T^'J*.     J*_|J:         j        ft    ^ 

One      fer     de    good  Nig-ger  jes    'cross  de  lane. 


pi 


Poor     lid  -  die  black  sheep  poor     lid  -  die  lam  -  my, 


€1 


Poor     lid  -  die  black  sheep's  Got     no     mam  •  my. 
BAA!     BAA!     BLACK  SHEEP 
"BAA!     Baa!     Black  Sheep, 
Has  you  got  wool?" 
"Yes,  good  Mosser, 
Free  bags  full. 
One  fer  ole  Mistis, 
One  fer  Miss  Dame, 
27 


NEGRO  FOLK  RHYMES 

An*  one  fer  de  good  Nigger 
Jes  across  de  lane." 
Poor  liddle  Black  Sheep, 
Poor  liddle  lammy; 
Poor  liddle  Black  Sheep's 
Got  no  mammy. 


HE  WILL  GET  MR.  COON 

OLE  Mistah  Coon,  at  de  break  o'  day, 
You  needn'  think  youse  gwineter  git  'way. 
Caze  ole  man  Ned,  he  know  how  to  run, 
An*  he's  sho'  gone  fer  to  git  'is  gun. 

You  needn'  clam  to  dat  highes'  lira', 
You  cain't  git  out'n  de  retch  o'  him. 
You  can  stay  up  dar  till  de  sun  done  set, 
I'll  bet  you  a  dollar  dat  he'll  git  you  yet. 

Ole  Mistah  Coon,  you'd  well's  to  give  up. 
You  had  well's  to  give  up,  I  say. 
Caze  ole  man  Ned  is  straight  atter  you, 
An'  he'll  git  you  sho'  this  day. 


28 


NEGRO  FOLK  RHYMES 

BRING  ON  YOUR  HOT  CORN 

BRING  along  yo'  hot  co'n, 
Bring  along  yo'  coP  co'n; 
But  I  say  bring  along, 
Bring  along  yo'  *  Jimmy- 
john. 

Some  loves  de  hot  co'n, 
Some  loves  de  col'  co'n; 
But  I  loves,  I  loves, 
I  loves  dat  Jimmy-john. 

THE  LITTLE  ROOSTER 

I  HAD  a  liddle  rooster, 
He  crowed  befo'  day. 
'Long  come  a  big  owl, 
'An  toted  him  away. 

But  de  rooster  fight  hard, 
An'  de  owl  let  him  go. 
Now  all  de  pretty  hens 
Wants  dat  rooster  fer  deir 

beau. 

•  Jimmy-john  =  a  whiskey  jug. 
29 


NEGRO  FOLK  RHYMES 

SUGAR    IN    COFFEE 

SHEEP'S  in  de  meader  a-mowin'  o'  de  hay. 
De  honey's  in  de  bee-gum,  so  dey  all  say. 
My  head's  up  an'  I'se  boun'  to  go* 
Who'll  take  sugar  in  de  coffee-o? 

I'se  de  prettiest  liddle  gal  in  de  county-o. 
My  mammy  an'  daddy,  dey  bofe  say  so. 
I  looks  in  de  glass,  it  don't  say,  "No"; 
So  I'll  take  sugar  in  de  coffee-o. 

*  THE  TURTLE'S  SONG 

MUD  turkle  settin'  on  de  end  of  a  log, 
A-watchin'  of  a  tadpole  a-turnin'  to  a  frog. 
He  sees  Br'er  B'ar  a-pullin'  lak  a  mule. 
He  sees  Br'er  Tearpin  a-makin'  him  a  fool. 

Br'er  B'ar  pull  de  rope  an'  he  puff  an'  he 

blow  ; 
But  he  cain't  git  de  Tearpin  out'n  de  water 

from  below. 

Dat  big  clay  root  is  a-holdin'  dat  rope, 
Br'er  Tearpin's  got  'im  fooled,  an'  dere 

hain't  no  hope. 

For  explanation  see  Study  in  Negro  Folk  Rhymes. 
30 


NEGRO  FOLK  RHYMES 

Mud  turkle  settin'  one  de  end  o'  dat  log ; 
Sing  fer  de  tadpole  a-turnin'  to  a  frog, 
Sing  to  Br'er  B'ar  a-pullin'  lak  a  mule, 
Sing   to   Br'er   Tearpin    a-makin'    'im    a 
fool:— 

"Oh,  Br'er  Rabbit!  Yo'  eyes  mighty  big!" 
"Yes,   Br'er  Turkle!     Dey're  made   fer 

to  see." 
"Oh,  Br'er  Tearpin!     Yo'  house  mighty 

cu'ous!" 
"Yes,  Br'er  Turkle,  but  it  jest  suits  me." 

"Oh,  Br'er  B'ar !    You  pulls  mighty  stout." 
"Yes,  Br'er  Turkle!     Dat's  right  smart 

said!" 
"Right,   Br'er  B'ar!     Dat  sounds  bully 

good, 
But  you'd  oughter  git  a  liddle  mo'  pull 

in  de  head." 

RACCOON  AND  OPOSSUM  FIGHT 

DE  raccoon  an'  de  'possum 
Under  de  hill  a-fightin'; 
Rabbit  almos'  bust  his  sides 
Laughin'  at  de  bitin'. 
3* 


NEGRO  FOLK  RHYMES 

De  raccoon  claw  de  'possum 
Along  de  ribs  an'  head ; 
'Possum  tumble  over  an'  grin, 
Playin'  lak  he  been  dead. 


COTTON    EYED  JOE 

HOL*  my  fiddle  an'  hoi'  my  bow, 
Whilst  I  knocks  ole  Cotton  Eyed  Joe. 

I'd  a  been  dead  some  seben  years  ago, 
If  I  hadn'  a  danced  dat  Cotton  Eyed 
Joe. 

Oh,  it  makes  dem  ladies  love  me  so, 
Wen  I  comes  'roun'  pickin'  ole 
Cotton  Eyed  Joe! 

Yes,  I'd  a  been  married  some  forty 

year  ago, 
If  I  hadn'  stay'd  'roun'  wid  Cotton 

Eyed  Joe. 

I  hain't  seed  ole  Joe,  since  way  Las' 

Fall; 
Dey  say  he's  been  sol'  down  to  Guinea 

Gall. 

32 


NEGRO  FOLK  RHYMES 


RABBIT  SOUP 

RABBIT  soup!    Rabbit  sop! 
Rabbit  e't  my  tunnup  top. 

Rabbit  hop,  rabbit  jump, 
Rabbit  hide  behin'  dat  stump. 

Rabbit  stop,  twelve  o'clock, 
Killed  dat  rabbit  wid  a  rock. 

Rabbit's  mine.    Rabbit's  skin'. 
Dress  'im  off  an'  take  'im  in. 

Rabbit's  on !    Dance  an*  whoop ! 
Makin'  a  pot  o'  rabbit  soup ! 

OLD    GRAY   MINK 

I  ONCE  did  think  dat  I  would  sink, 
But  you  know  I  wus  dat  ole  gray  mink. 

Dat  ole  gray  mink  jes  couldn'  die, 
Wen  he  thought  about  good  chicken  pi 

He  swum  dat  creek  above  de  mill, 
An'  he's  killing  an'  eatin'  chicken  still. 
33 


pie. 


NEGRO  FOLK  RHYMES 

RUN,   NIGGER,   RUN! 

RUN,  Nigger,  run !    De  *  Patter-rollers'll 

ketch  you. 
Run,  Nigger,  run !    It's  almos'  day. 

Dat  Nigger  run'd,  dat  Nigger  flew, 
Dat  Nigger  tore  his  shu't  in  two. 

All  over  dem  woods  and  frou  de  paster, 
Dem   Patter-rollers  shot;  but  de   Nigger   git 
faster, 

Oh,    dat    Nigger    whirl'd,    dat    Nigger 

wheel'd, 
Dat  Nigger  tore  up  de  whole  co'n  field. 

SHAKE   THE    PERSIMMONS    DOWN 

DE  raccoon  up  in  de  'simmon  tree. 

Dat  'possum  on  de  groun'. 

De    'possum    say    to    de    raccoon: 

"Suh!" 
"Please  shake  dem  'simmons  down." 

*Patrollers,  or  white  guards;  on  duty  at  night  during 
the  days  of  slavery;  whose  duty  it  was  to  see  that  slaves 
without  permission  to  go,  stayed  at  home. 

34 


NEGRO  FOLK  RHYMES 

De  raccoon  say  to  de  'possum :    "Suh !" 
(As  he   grin   from  down  below), 
"If  you  wants  dese  good  'simmons, 

man, 
Jes  clam  up  whar  dey  grow." 


THE  COW  NEEDS  A  TAIL  IN  FLY-TIME 

DAT  ole  black  sow,  she  can  root  in  de  mud, 
She  can  tumble  an'  roll  in  de  slime; 
But  dat  big  red  cow,  she  git  all  mired  up, 
So  dat  cow  need  a  tail  in  fly-time. 

Dat  ole  gray  hoss,  wid  'is  ole  bob  tail, 
You  mought  buy  all  'is  ribs  fer  a  dime; 
But  dat  ole  gray  hoss  can  git  a  kiver  on, 
Whilst  de  cow  need  a  tail  in  fly-time. 

Dat  Nigger  Overseer,  dat's  a-ridin'  on  a 

mule, 

Cain't  make  hisse'f  white  lak  de  lime; 
Mosser  mought  take  'im  down  fer  a  notch 

or  two, 
Den  de  cow'd  need  a  tail  in  fly-time. 


35 


NEGRO  FOLK  RHYMES 


JAYBIRD  DIED  WITH  THE  WHOOPING 
COUGH 

DE  Jaybird  died  wid  de  Whoopin'  Cough, 
De  Sparrer  died  wid  de  colic  ; 
'Long  come  de  Red-bird,  skippin'  'round, 
Sayin' :  "Boys,  git  ready  f er  de  Frolic !" 

De  Jaybird  died  wid  de  Whoopin'  Cough, 
De  Bluebird  died  wid  de  Measles; 
'Long  come  a  Nigger  wid  a  riddle  on  his 

back, 
'Vitin'  Crows  fer  to  dance  wid  de  Weasels. 

Dat  Mockin'-bird,  he  romp  an'  sing; 
Dat  ole  Gray  Goose  come  prancin'. 
Dat  Thrasher  stuff  his  mouf  wid  plums, 
Den  he  caper  on  down  to  de  dancin*. 

Dey  hopped  it  low,  an'  dey  hopped  it  high ; 
Dey  hopped  it  to,  an'  dey  hopped  it  by  ; 
Dey  hopped  it  fer,  an'  dey  hopped  it  nigh ; 
Dat  fiddle  an'  bow  jes  make  'em  fly. 


NEGRO  FOLK  RHYMES 


WANTED!    CORNBREAD  AND  COON 

I'SE  gwine  now  a-huntin'  to  ketch  a  big  fat  coon. 
Gwineter  bring  him  home,  an'  bake  him,  an'  eat  him 

wid  a  spoon. 
Gwineter  baste  him  up  wid  gravy,  an'  add  some 

onions  too. 
I'se  gwineter  shet  de  Niggers  out,  an'  stuff  myse'f 

clean  through. 

I  wants  a  piece  o'  hoecake ;  I  wants  a  piece  o'  bread, 
An'  I  wants  a  piece  o'  Johnnycake  as  big  as  my  ole 

head. 
I  wants  a  piece  o'  ash  cake:  I  wants  dat  big  fat 

coon! 
An'  I  sho'  won't  git  hongry  'fore  de  middle  o'  nex* 

June. 


LITTLE  RED  HEN 

MY  liddle  red  hen,  wid  a  liddle  white  foot, 
Done  built  her  nes'  in  a  huckleberry  root. 
She  lay  mo'  aigs  dan  a  flock  on  a  f  ahm. 
Anudder  liddle  drink  wouldn'  do  us  no  harm. 
37 


NEGRO  FOLK  RHYMES 

My  liddle  red  hen  hatch  fifty  red  chicks 
In  dat  liddle  ole  nes'  of  huckleberry  sticks. 
Wid  one  mo'  drink,  ev'y  chick'll  make  two! 
Come,  bring  it  on,  Honey,  an'  let's  git  through. 


RATION    DAY 

DAT  ration  day  come  once  a  week, 
Ole  Mosser's  rich  as  Gundy; 
But  he  gives  us  'lasses  all  de  week, 
An'  buttermilk  fer  Sund'y. 

Ole  Mosser  give  me  a  pound  o'  meat. 
I  e't  it  all  on  Mond'y; 
Den  I  e't  'is  'lasses  all  de  week. 
An'  buttermilk  fer  Sund'y. 

Ole  Mosser  give  me  a  peck  o'  meal, 
I  fed  and  cotch  my  tucky; 
But  I  e't  dem  'lasses  all  de  week, 
An'  buttermilk  fer  Sund'y. 

Oh  laugh  an'  sing  an'  don't  git  tired. 
We's  all  gwine  home,  some  Mond'y, 
To  de  honey  ponds  an'  fritter  trees; 
An'  ev'ry  day'll  be  Sund'y. 
38 


NEGRO  FOLK  RHYMES 

MY  FIDDLE 

IF  my  ole  fiddle  wus  jes  in  chune, 
She'd  bring  me  a  dollar  ev'y  Friday 

night  in  June. 

Wen  my  ole  fiddle  is  fixed  up  right, 
She  bring  me  a  dollar  in  nearly  ev'y 

night. 

Wen  my  ole  fiddle  begin  to  sing, 
She  make  de  whole  plantation  ring. 
She  bring  me  in  a  dollar  an'  sometime 

mo'. 
Hurrah  fer  my  ole  fiddle  an'  bow! 

DIE   IN  THE   PIG-PEN   FIGHTING 

DAT  ole  sow  said  to  de  barren 
"I'll  tell  you  w'at  let's  do: 
Let's  go  an'  git  dat  broad-axe 
And  die  in  de  pig-pen  too." 

"Die  in  de  pig-pen  fightin'! 
Yes,  die,  die  in  de  wah! 
Die  in  de  pig-pen  fightin', 
Yes,  die  wid  a  bitin'  jaw!" 
39 


NEGRO  FOLK  RHYMES 

MASTER  IS   SIX   FEET  ONE  WAY 

MOSSER  is  six  foot  one  way,  an'  free  foot 

tudder  ; 

An'  he  weigh  five  hunderd  pound. 
Britches  cut  so  big  dat  dey  don't  suit  de 

tailor, 
An'  dey  don't  meet  half  way  'round. 

Mosser's  coat  come  back  to  a  claw-hammer 

p'int. 

(Speak  sof  or  his  Bloodhound'll  bite  us.) 
His  long  white  stockin's  mighty  clean  an1 

nice, 
But  a  liddle  mo'  holier  dan  righteous. 


FOX  AND  GEESE 

BR'ER  Fox  wa'k  out  one  moonshiny  night, 
He  say  to  hisse'f  w'at  he's  a  gwineter  do. 
He  say,  "I'se  gwineter  have  a  good  piece 

o'  meat, 

Befo'  I  leaves  dis  townyoo. 
Dis  townyoo,  dis  townyoo! 
Yes,  befo'  I  leaves  dis  townyoo !" 
40 


NEGRO  FOLK  RHYMES 

Ole  mammy  Sopentater  jump  up  out'n  bed, 
An'  she  poke  her  head  outside  o'  de  do'. 
She  say:    "Ole  man,  my  gander's  gone. 
I  heared  'im  w'en  he  holler  'quinny- 

quanio,' 

'Quinny-quanio,  quinny-quanio!' 
Yes,  I  heared  'im  w'en  he  holler  'quinny- 
quanio.'  " 

GOOSEBERRY   WINE 

Now  'umble  Uncle  Steben, 
I  wonders  whar  youse  gwine? 
Don't  never  tu'n  yo'  back,  Suh, 
On  dat  good  ole  gooseberry  wine ! 

Oh  walk  chalk,  Ginger  Blue! 
Git  over  double  trouble. 
You  needn'  min'  de  wedder 
So's   de   win'    don't   blow  you 
double. 

Now! 

Uncle  Mack!    Uncle  Mack! 
Did  you  ever  see  de  lak? 
Dat  good  ole  sweet  gooseberry 

wine 
Call  Uncle  Steben  back. 


NEGRO  FOLK  RHYMES 

I  WOULD  RATHER  BE  A  NEGRO  THAN 
A  POOR  WHITE  MAN 

MY  name's  Ran,  I  wuks  in  de  san' ; 
But  I'd  druther  be  a  Nigger  dan  a  po' 
white  man. 

Gwineter  hitch  my  oxes  side  by  side, 
An'  take  my  gal  fer  a  big  fine  ride. 

Gwineter  take  my  gal  to  de  country 

sto'; 
Gwineter  dress  her  up  in  red  calico. 

You  take  Kate,  an'  I'll  take  Joe. 
Den  off  we'll  go  to  de  pahty-o. 

Gwineter  take  my  gal  to  de  Hulla- 
baloo, 

Whar  dere  hain't  no  *  Crackers  in  a 
mile  or  two. 

Interlocution: 

(Fiddler)   "Oh,    Sal!      Whar's    de 

milk  strainer  cloth?" 

*  Names  applied  by  Negroes  to  the  poorer  class  of  white 
people  in  the  South. 

42 


NEGRO  FOLK  RHYMES 

(Banjo  Picker)  "Bill's  got  it 
wropped  'round  his  ole  sore  leg." 

(Fiddler)  "Well,  take  it  down  to  de 
gum  spring  an'  give  it  a  cold  wa- 
ter rench ;  I  'spizes  nastness  any- 
way. I'se  got  to  have  a  clean 
cloth  fer  de  milk." 

He  don't  lak  whisky  but  he  jest  drinks 

a  can. 
Honey!  I'd  druther  be  a  Nigger  dan 

a  po'  white  man. 

I'd  druther  be  a  Nigger,  an'  plow  ole 

Beck 
Dan  a  white  *  Hill  Billy  wid  his  long 

red  neck. 

THE    HUNTING    CAMP 

SAM  got  up  one  mornin* 

A  mighty  big  fros'. 

Saw    "A   louse,    in   de    huntin* 

camp 

As  big  as  any  boss!" 

*  Names  applied  by  Negroes  to  the  poorer  class  of  white 
people  in  the  South. 

43 


NEGRO  FOLK  RHYMES 

Sam  run  'way  down  de  mountain; 
But  w'en  Mosser  got  dar, 
He  swore  it  twusn't  nothin' 
But  a  big  black  b'ar. 


THE  ARK 

OLE  Nora  had  a  lots  o'  hands 
A  clearin'  new  ground  patches. 
He  said  he's  gwineter  build  a  Ark, 
An'  put  tar  on  de  hatches. 

He  had  a  sassy  Mo'gan  hoss 
An'  gobs  of  big  fat  cattle; 
An'  he  driv'  em  all  aboard  de  Ark, 
W'en  he  hear  de  thunder  rattle. 

An'  den  de  river  riz  so  fas' 
Dat  it  bust  de  levee  railin's. 
De  lion  got  his  dander  up, 
An'  he  lak  to  a  broke  de  palin's. 

An'  on  dat  Ark  wus  daddy  Ham; 
No  udder  Nigger  on  dat  packet. 
He  soon  got  tired  o'  de  Barber  Shop, 
Caze  he  couln'  stan'  de  racket. 
44 


NEGRO  FOLK  RHYMES 

An'  den  jes  to  amuse  hisse'f, 

He  steamed  a  board  an'  bent  it,  Son. 

Dat  way  he  got  a  banjer  up, 

Fer  ole  Ham's  de  fust  to  make  one. 

Dey  danced  dat  Ark  from  een  to  een, 
Ole  Nora  called  de  Figgers. 
Ole  Ham,  he  sot  an'  knocked  de  chunes, 
De  happiest  of  de  Niggers. 

GRAY  AND   BLACK   HORSES 

I  WENT  down  to  de  woods  an'  I  couldn'  go  'cross, 
So  I  paid  five  dollars  fer  an  ole  gray  hoss. 

De  hoss  wouldn'  pull,  so  I  sol'  'im  fer  a  bull. 
De  bull  wouldn'  holler,  so  I  sol'  'im  fer  a  dollar. 
De  dollar  wouldn'  pass,  so  I  throwed  it  in  de  grass. 
Den  de  grass  wouldn'  grow.    Heigho !    Heigho ! 

Through  dat  huckleberry  woods  I  couldn'  git  far, 
So  I  paid  a  good  dollar  fer  an  ole  black  mar'. 
Wen  I  got  down  dar,  de  trees  wouldn'  bar ; 
So  I  had  to  gallop  back  on  dat  ole  black  mar'. 
"Bookitie-bar!"     Dat  ole   black   mar';   "Bookitie- 

bar!"    Dat  ole  black  mar'. 
Ye"  she  trabble  so  hard  dat  she  jolt  off  my  ha'r. 
45 


NEGRO  FOLK  RHYMES 

RATTLER 

Go   call   ole    Rattler    from   de 

bo'n. 

Here  Rattler!     Here! 
He'll  drive  de  cows  out'n  de  co'n, 
Here  Rattler!    Here! 

Rattler  is  my  huntin'  dog. 

Here  Rattler!     Here! 

He's  good  fer  rabbit,  good  fer 

hog, 
Here  Rattler!     Here! 

He's  good  fer  'possum  in  de  dew. 
Here  Rattler!    Here! 
Sometimes  he  gits  a  chicken,  too. 
Here  Rattler!     Here! 

BROTHER  BEN  AND   SISTER   SAL 

OLE  Br'er  Ben's  a  mighty  good  ole  man, 
He  don't  steal  chickens  lak  he  useter. 
He  went  down  de  chicken  roos'  las'  Fri- 
day night, 
An'  tuck  off  a  dominicker  rooster. 

46 


NEGRO  FOLK  RHYMES 

Dere's  ole  Sis  Sal,  she  climbs  right  well, 
But  she  cain't  'gin  to  climb  lak  she  useter. 
So  yonder  she  sets  a  shellin'  out  co'n 
To  Mammy's  ole  bob-tailed  rooster. 

Yes,  ole  Sis  Sal's  a  mighty  fine  ole  gal, 
She's  sho'  extra  good  an'  clever. 
She's  done  tuck  a  notion  all  her  own, 
Dat  she  hain't  gwineter  marry  never. 

Ole  Sis  Sal's  got  a  foot  so  big, 
Dat  she  cain't  wear  no  shoes  an'  gaiters. 
So  all  she  want  is  some  red  calico, 
An'  dem  big  yaller  yam  sweet  raters. 

Now    looky,    looky   here!      Now    looky, 

looky  there! 

Jes  looky! — Looky  'way  over  yonder! — 
Don't  you  see  dat  ole  gray  goose 
A-smilin'  at  de  gander? 

SIMON  SLICK'S  MULE 

DERE  wus  a  liddle  kickin'  man, 
His  name  wus  Simon  Slick. 
He  had  a  mule  wid  cherry  eyes. 
Oh,  how  dat  mule  could  kick! 
47 


NEGRO  FOLK  RHYMES 

An',  Suh,  w'en  you  go  up  to  him, 
He  shet  one  eye  an'  smile; 
Den  'e  telegram  'is  foot  to  you, 
An'  sen'  you  half  a  mile! 


NOBODY    LOOKING 

WELL  :  I  look  dis  a  way,  an'  I  look  dat  a  way, 
An'  I  heared  a  mighty  rumblin'. 
W'en  I  come  to  find  out,  'twus  dad's 

black  sow, 
A-rootin'  an'  a-grumblin'. 

Den:  I  slipped  away  down  to  de  big  White 

House. 

Miss  Sallie,  she  done  gone  'way. 
I  popped  myse'f  in  de  rockin'  chear, 
An'  I  rocked  myse'f  all  day. 

Now :  I  looked  dis  a  way,  an'  I  looked  dat  a  way, 
An'  I  didn'  see  nobody  in  here. 
I  jes  run'd  my  head  in  de  coffee  pot, 
An'  I  drink'd  up  all  o'  de  beer. 


NEGRO  FOLK  RHYMES 


HOECAKE 

IF  you  wants  to  bake  a  hoecake, 
To  bake  it  good  an'  done; 
Jes'  slap  it  on  a  Nigger's  heel, 
An'  hoi'  it  to  de  sun. 

Dat  snake,  he  bake  a  hoecake, 
An'  sot  de  toad  to  mind  it; 
Dat  toad  he  up  an'  go  to  sleep, 
An'  a  lizard  slip  an'  find  it! 

My  mammy  baked  a  hoecake, 

As  big  as  Alabamer. 

She  throwed  it  'g'inst  a  Nigger's 

head 
An'  it  ring  jes'  lak  a  hammer. 

De  way  you  bakes  a  hoecake, 

In  de  ole  Virginy  'tire; 

You  wrops  it  'round  a  Nigger's 

heel, 
An'  hoi's  it  to  de  fire. 


49 


NEGRO  FOLK  RHYMES 


I  WENT  DOWN  THE  ROAD 

I  WENT  down  de  road, 
I  went  in  a  whoop  ; 
An*  I  met  Aunt  Dinah 
Wid  a  chicken  pot  o'  soup. 
Sing:    "I    went   away    from    dar;    hook-a-doo-dle, 

hook-a-doo-dle." 

"I  went  away  from  dar;  hook-a-doo-dle-doo!" 
I  drunk  up  dat  soup, 
An'  I  let  her  go  by; 
An*  I  tol'  her  nex'  time 
To  bring  Missus'  pot  pie. 

Sing:  "Oh    f  ar'-you-well ;    hook-a-doo-dle,    hook-a- 
doo-dle  ; 
Oh  f  ar'-you-well,  an1  a  hook-a-doo-dle-doo!" 


THE  OLD  HEN  CACKLED 

DE  ole  hen  she  cackled, 
An'  stayed  down  in  de  bo'n. 
She  git  fat  an'  sassy, 
A-eatin'  up  de  co'n. 
50 


NEGRO  FOLK  RHYMES 

De  ole  hen  she  cackled, 
Git  great  long  yaller  laigs. 
She  swaller  down  de  oats, 
But  I  don't  git  no  aigs. 

De  ole  hen  she  cackled, 
She  cackled  in  de  lot, 
De  nex'  time  she  cackled, 
She  cackled  in  de  pot. 


I   LOVE   SOMEBODY 

I  LOVES  somebody,  yes,  I  do ; 

An*  I  wants  somebody  to  love  me  too. 

Wid    my    chyart    an*    oxes    stan'in* 

'roun', 
Her  pretty  liddle  foot  needn'  tetch 

de  groun'. 

I  loves  somebody,  yes,  I  do, 
Dat  randsome,  handsome,  Sticka- 

mastew. 

Wid  her  reddingoat  an'  waterfall, 
She's  de  pretty  liddle  gal  dat  beats 

'em  all. 

51 


NEGRO  FOLK  RHYMES 


WE  ARE  "ALL  THE  GO" 

YES!  We's  "All-de-go,"  boys;  we's  "All-de-go." 
Me  an'  my  Lulu  gal's  "All-de-go." 
I  jes'  loves  my  sweet  pretty  liddle  Lulu 

Ann, 
But  de  way  she  gits  my  money  I  cain't 

hardly  understan'. 
Wen  she  up  an'  call  me  "Honey!"  I  fer- 

gits  my  name  is  Sam, 

An'  I  hain't  got  one  nickel  lef '  to  git  a  me 
a  dram. 

Still:  We's  "All-de-go,"  boys;  we's  "All-de-go." 
Me  an*  my  Lulu  gal's  "All-de-go." 
She's  always  gwine  a-fishin',  w'en  she'd 

oughter  not  to  go; 
An'  now  she's  all  a  troubled  wid  de  frostes 

an*  de  snow. 
I  tells  you  jes  one  thing  dat  I'se  done 

gone  an'  foun': 

De  Nigs  cain't  git  no  livin'  'round  de  Co't 
House  steps  an'  town. 


NEGRO  FOLK  RHYMES 


AUNT   DINAH   DRUNK 

OLE  Aunt  Dinah,  she  got  drunk. 

She  fell  in  de  fire,  an'  she  kicked  up  a 

chunk. 

Dem  embers  got  in  Aunt  Dinah's  shoe, 
An'  dat  black  Nigger  sho'  got  up  an'  flew. 

I  likes  Aunt  Dinah  mighty,  mighty  well, 
But  dere's  jes'  one  thing  I  hates  an'  'spize: 
She  drinks  mo'  whisky  dan  de  bigges'  fool, 
Den  she  up  an'  tell  ten  thousand  lies. 

Yes,  I   won't   git   drunk  an'   kick  up  a 

chunk. 
I   won't   git   drunk   an'   kick  up   a 

chunk. 
I   won't   git   drunk   an*   kick  up   a 

chunk, 

'Way  down  on  de  ole  Plank  Road. 
Oh  shoo  my  Love !    My  turkle  dove. 
Oh  shoo  my  Love !    My  turkle  dove. 
Oh  shoo  my  Love !    My  turkle  dove. 
'Way  down  on  de  ole  Plank  Road. 


53 


NEGRO  FOLK  RHYMES 


THE  OLD  WOMAN   IN  THE   HILLS 

ONCE:  Dere  wus  an  ole  'oman 
Dat  lived  in  de  hills; 
Put  rocks  in  'er  stockin's, 
An'  sent  'em  to  mill. 

Den:  De  ole  miller  swore, 

By  de  pint  o'  his  knife; 
Dat  he  never  had  ground 

up 
No  rocks  in  his  life. 

So :  De  ole  'oman  said 

To  dat  miller  nex'  day: 
"You  railly  must  'scuse  me, 
It's  de  onliest  way." 

"I  heared  you  made  meal, 
A-grindin'  OH  stones. 
I  mus'  'ave  heared  wrong, 
It  mus'  'ave  been  bones." 


54 


NEGRO  FOLK  RHYMES 


A    SICK  WIFE 

LAS'  Sadday  night  my  wife  tuck  sick, 
An'  what  d'you  reckon  ail  her? 
She  e't  a  tucky  gobbler's  head 
An'  her  stomach,  it  jes'  fail  her. 

She  squall  out:     "Sam,   bring  me  some 

mint! 

Make  catnip  up  an'  sage  tea!" 
I  goes  an'  gits  her  all  dem  things, 
But  she  throw  'em  back  right  to  me. 

Says  I:  "Dear  Honey!  Mind  nex' time!" 
"Don't  eat  from  'A  to  Izzard'  " 
"I  thinks  you  won'  git  sick  at  all, 
If  you  saves  po'  me  de  gizzard." 


MY  WONDERFUL  TRAVEL 

I  COME  down  from  ole  Virginny, 
'Twas  on  a  Summer  day; 
De  wedder  was  all  frez  up, 
'An'  I  skeeted  all  de  way! 
55 


NEGRO  FOLK  RHYMES 

Interlocution : 

Hand  my  banjer  down  to  play, 

Wanter  pick  fer  dese  ladies  right  away; 

"Wen  dey  went  to  bed, 

Dey  couldn'  shet  deir  eyes," 

An'  "Dey  was  stan'in'  on  deir  heads, 

A-pickin'  up  de  pies." 


I  WOULD  NOT  MARRY  A  BLACK  GIRL 

I  WOULDN'  marry  a  black  gal, 
I'll  tell  you  de  reason  why : 
When  she  goes  to  comb  dat  head 
De  naps'll  'gin  to  fly. 

I  wouldn'  marry  a  black  gal, 

I'll  tell  you  why  I  won't: 

When  she'd  oughter  wash  her  face — 

Well,  I'll  jes  say  she  don't. 

I  woudn'  marry  a  black  gal, 
An'  dis  is  why  I  say : 
When  you  has  her  face  around, 
It  never  gits  good  day. 
*  For  discussion  see  Study  in  Negro  Folk  Rhymes. 

56 


NEGRO  FOLK  RHYMES 


HARVEST  SONG 

LAS'  year  wus  a  good  crap  year, 
An'  we  raised  beans  an'  'maters. 
We  didn'  make  much  cotton  an'  co'n ; 
But,  Goodness  Life,  de  taters! 

You  can  plow  dat  ole  gray  boss, 
I'se  gwineter  plow  dat  mulie; 
An'  w'en  we's  geddered  in  de  craps, 
I'se  gwine  down  to  see  Julie. 

I  hain't  gwineter  wo'k  on  de  rail- 
road. 

I  hates  to  wo'k  on  de  fahm. 
I  jes  wants  to  set  in  de  cool  shade, 
Wid  my  head  on  my  Julie's  ahm. 

You  swing  Lou,  an'  I'll  swing  Sue. 
Dere  hain't  no  diffunce  'tween  dese 

two. 

You  swing  Lou,  I'll  swing  my  beau; 
I'se  gwineter  buy  my  gal  red  calico. 


57 


NEGRO  FOLK  RHYMES 


YEAR   OF    JUBILEE 

NIGGERS,  has  you  seed  ole  Mosser; 
(Red  mustache  on  his  face.) 
A-gwine  'roun'  sometime  dis  mawnin', 
'Spectin'  to  leave  de  place? 

Nigger  Hands  all  runnin'  'way, 
Looks  lak  we  mought  git  free! 
It  mus'  be  now  de  *Kingdom  Come 
In  de  Year  o'  Jubilee. 

Oh,  yon'er  comes  ole  Mosser 
Wid  his  red  mustache  all  white! 
It  mus'  be  now  de  Kingdom  Come 
Sometime  to-morrer  night. 

Yanks  locked  him  in  de  smokehouse 

cellar, 

De  key's  throwed  in  de  well : 
It  sho'  mus'  be  de  Kingdom  Come. 
Go  ring  dat  Nigger  field-bell! 

*  Kingdom  Come  =  Freedom. 


NEGRO  FOLK  RHYMES 

SHEEP  SHELL  CORN 

Oh:  De  Ram  blow  de  ho'n  an'  de  sheep  shell  co'n; 
An'  he  sen'  it  to  de  mill  by  de  buck-eyed  Whip- 

poorwill. 
Ole  Joe's  dead  an'  gone  but  his  *  Hant  blows 

de  ho'n  ; 
An'  his  hound  howls  still  from  de  top  o*  dat 

hill. 

Yes:  De  Fish-hawk  said  unto  Mistah  Crane; 

:<I  wishes  to  de  Lawd  dat  you'd  sen'  a  liddle 

rain; 
Fer  de  water's  all  muddy,  an  de  creek's  gone 

dry; 
If  it  'twasn't  fer  de  tadpoles  we'd  all  die." 

Oh:  When  de  sheep  shell  co'n  wid  de  rattle  of  his 

ho'n 

I  wishes  to  de  Lawd  I'd  never  been  bo'n ; 
Caze  when  de  Hant  blows  de  ho'n,  de  sperits 

all  dance, 
An'  de  hosses  an'  de  cattle,  dey  whirls  'round 

an'  prance. 
*  Hant  «*=  spirit  or  ghost 

59 


NEGRO  FOLK  RHYMES 

Oh:  Yonder  comes  Skillet  an'  dere  goes  Pot; 
An'  here  comes  Jawbone  'cross  de  lot. 
Walk  Jawbone!    Beat  de  Skillet  an'  de  Pan! 
You  cut  dat  Pigeon's  Wing,  Black  Man ! 

Now:  Take  keer,  gemmuns,  an'  let  me  through; 

Caze  Fse  gwineter  dance  wid  liddle  Mollie 

Lou. 

But  Fse  never  seed  de  lak  since  Fse  been  bo'n, 
When  de  sheep  shell  co'n  wid  de  rattle  of 

his  ho'n! 


PLASTER 

CHILLUNS: 

Mammy  an'  daddy  had  a  hoss, 
Dey  want  a  liddle  bigger. 
Dey  sticked  a  plaster  on  his  back 
An'  drawed  a  liddle  Nigger. 

Den: 

Mammy  an'  daddy  had  a  dog, 
His  tail  wus  short  an'  chunky. 
Dey  slapped  a  plaster  'round  dat  tail, 
An'  drawed  it  lak  de  monkey. 
60 


NEGRO  FOLK  RHYMES 

Well: 

Mammy  an'  daddy's  dead  an'  gone. 
Did  you  ever  hear  deir  story? 
Dey  sticked  some  plasters  on  deir  heels, 
An'  drawed  'em  up  to  Glory! 

UNCLE   NED 

JES  lay  down  de  shovel  an'  de  hoe. 
Jes  hang  up  de  fiddle  an'  de  bow. 
No  more  hard  work  fer  ole  man  Ned, 
Fer  he's  gone  whar  de  good  Niggers  go. 

He  didn'  have  no  years  fer  to  hear, 
Didn'  have  no  eyes  fer  to  see, 
Didn'  have  no  teeth  fer  to  eat  corn  cake, 
An'  he  had  to  let  de  beefsteak  be. 

Dey  called  'im  "Ole  Uncle  Ned," 

A  long,  long  time  ago. 

Dere  wusn't  no  wool  on  de  top  o'  his  head 

In  de  place  whar  de  wool  oughter  grow. 

When  ole  man  Ned  wus  dead, 
Mosser's  tears  run  down  lak  rain; 
But  ole  Miss,  she  wus  a  liddle  sorter  glad, 
Dat  she  wouldn'  see  de  ole  Nigger  'gain. 
61 


NEGRO  FOLK  RHYMES 


THE  MASTER'S  "STOLEN"  COAT 

OLE  Mosser  bought  a  brand  new  coat, 
He  hung  it  on  de  wall. 
Dat  Nigger  *  stole  dat  coat  away, 
An*  wore  it  to  de  Ball. 

His  head  look  lak  a  Coffee  pot, 
His  nose  look  lak  de  spout, 
His  mouf  look  lak  de  fier  place, 
Wid  de  ashes  all  tuck  out. 

His  face  look  lak  a  skillet  lid, 
His  years  lak  two  big  kites. 
His  eyes  look  lak  two  big  biled  aigs, 
Wid  de  yallers  in  de  whites. 

His  body  'us  lak  a  stuffed  toad  frog, 
His  foot  look  lak  a  board. 
Oh-oh !    He  thinks  he  is  so  fine, 
But  he's  greener  dan  a  gourd. 

*  Stole,   here,  means  taken  temporarily  with  intention 
to  return. 


NEGRO  FOLK  RHYMES 


*  I  WOULDN'T  MARRY  A  YELLOW  OR  A 
WHITE  NEGRO  GIRL 

I  SHO'  loves  dat  gal  dat  dey  calls  Sally  t  "Black," 
An'  I  sorter  loves  some  of  de  res' ; 
I  first  loves  de  gals  fer  lovin'  me, 
Den  I  loves  myse'f  de  bes'. 

I  wouldn'  marry  dat  yaller  Nigger  gal, 
An'  I'll  tell  you  de  reason  why : 
Her  neck's  drawed  out  so  stringy  an'  long, 
Pse  afeared  she  'ould  never  die. 

I  wouldn'  marry  dat  White  Nigger  gal, 
(Fer  gracious  sakes!)  dis  is  why: 
Her  nose  look  lak  a  kittle  spout  ; 
An'  her  skin,  it  hain't  never  dry. 

DON'T  ASK  ME  QUESTIONS 
DON'T  ax  me  no  questions, 
An'  I  won't  tell  you  no  lies; 
But  bring  me  dem  apples, 
An'  I'll  make  you  some  pies. 

*For  discussion  see  Study  in  Negro  Folk  Rhymes. 

t  "Black"  here  is  not  the  real  name.  This  name  is  ap- 
plied because  of  the  complexion  of  the  girls  to  whom  it 
was  sung. 

63 


NEGRO  FOLK  RHYMES 

An'  if  you  ax  questions, 
'Bout  my  havin'  de  flour; 
I  fergits  to  use  'lasses 
An'  de  pie'll  be  all  sour. 

Dem  apples  jes  wa'k  here; 
An'  dem  'lasses,  dey  run. 
Hain't  no  place  lak  my  house 
Found  un'er  de  sun. 


THE  OLD  SECTION  BOSS 

I  ONCE  knowed  an  ole  Sexion  Boss  b.ut  he  done  been 

laid  low. 
I  once  knowed  an  ole  Sexion  Boss  but  he  done  been 

laid  low. 
He  "Caame  frum  gude  ole  Ireland  some  fawhrty 

year  ago." 

Wen  I  ax  'im  fer  a  job,  he  say:  "Nayger,  w'at  can 

yer  do?" 
Wen  I  ax  'im  fer  a  job,  he  say:  "Nayger,  w'at  can 

yer  do?" 
"I  can  line  de  track;  tote  de  jack,  de  pick  an'  shovel 


NEGRO  FOLK  RHYMES 

Says  he:  "Nayger,  de  railroad's  done,  an'  de  chyars 

is  on  de  track," 
Says  he:  "Nayger,  de  railroad's  done,  an'  de  chyars 

is  on  de  track," 
"Transportation  brung  yer  here,  but  yo'  money'll 

take  yer  back." 

I  went  down  to  de  Deepo,  an'  my  ticket  I  sho'  did 

draw. 
I  went  down  to  de  Deepo,  an'  my  ticket  I  sho'  did 

draw. 
To  take  me  over  dat  ole  Iron  Mountain  to  de  State 

o'  Arkansaw. 

As  I  went  sailin'  down  de  road,  I  met  my  mudder- 

in-law. 
I  wus  so  tired  an'  hongry,  man,  dat  I  couldn*  wuk 

my  jaw. 
Fer  I  hadn't  had  no  decent  grub  since  I  lef  ole 

Arkansaw. 

Her   bread   wus   hard   corndodgers;    dat   meat,    I 

couldn'  chaw. 
Her  bread  wus  hard  corndodgers;  dat  meat,  I 

couldn'  chaw. 
You  see ;  dat's  de  way  de  Hoosiers  feeds  way  out  in 

Arkansaw. 

65 


NEGRO  FOLK  RHYMES 

THE  NEGRO  AND  THE  POLICEMAN 

"OH  Mistah  Policeman,  tu'n  me  loose; 
Hain't  got  no  money  but  a  good  excuse." 
Oh  hello,  Sarah  Jane! 

Dat  ole  Policeman  treat  me  mean, 
He  make  me  wa'k  to  Bowlin'  Green. 
Oh  hello,  Sarah  Jane! 

De  way  he  treat  me  wus  a  shame. 
He  make  me  wear  dat  Ball  an'  Chain. 
Oh  hello,  Sarah  Jane! 

I  runs  to  de  river,  I  can't  git  'cross  ; 
Dat  Police  grab  me  an'  swim  lak  a  hoss. 
Oh  hello,  Sarah  Jane! 

I  goes  up  town  to  git  me  a  gun, 
Dat  ole  Police  sho'  make  me  run. 
Oh  hello,  Sarah  Jane! 

I  goes  crosstown  sorter  walkin'  wid  a  hump 
An'  dat  ole  Police  sho'  make  me  jump. 
Oh  hello,  Sarah  Jane! 

Sarah  Jane,  is  dat  yo'  name  ? 
Us  boys,  we  calls  you  Sarah  Jane. 
Well,  hello,  Sarah  Jane! 
66 


NEGRO  FOLK  RHYMES 


HAM  BEATS  ALL  MEAT 

DEM  white  folks  set  up  in  a  Dinin'  Room 
An*  dey  charve  dat  mutton  an'  lam'. 
De  Nigger,  he  set  'hind  de  kitchen  door, 
An'  he  eat  up  de  good  sweet  ham. 

Dem  white  folks,  dey  set  up  an'  look  so  fine, 
An'  dey  eats  dat  ole  cow  meat; 
But  de  Nigger  grin  an'  he  don't  say  much, 
Still  he  know  how  to  git  what's  sweet. 

Deir  ginger  cakes  taste  right  good  sometimes, 
An'  deir  Cobblers  an'  deir  jam. 
But  fer  every  day  an'  Sunday  too, 
Jest  gimme  de  good  sweet  ham. 

Ham  beats  all  meat, 

Always  good  an'  sweet. 

Ham  beats  all  meat, 

I'se  always  ready  to  eat. 

You  can  bake  it,  bile  it,  fry  it,  stew  it, 

An'  still  it's  de  good  sweet  ham. 


67 


NEGRO  FOLK  RHYMES 

SUZE  ANN 

YES:  I  loves  dat  gal  wid  a  blue  dress  on, 
Dat  de  white  folks  calls  Suze  Ann. 
She's  jes'  dat  gal  what  stole  my  heart, 
'Way  down  in  Alabam'. 

But :  She  loves  a  Nigger  about  nineteen, 
Wid  his  lips  all  painted  red; 
Wid  a  liddle  f uz  around  his  mouf ; 
An'  no  brains  in  his  head. 

Now:  Looky,  looky  Eas'!   Oh,  looky,  looky  Wes' 
I'se  been  down  to  ole  Lou'zan' ; 
Still  dat  ar  gal  I  loves  de  bes' 
Is  de  gal  what's  named  Suze  Ann. 
Oh,  head 'er!    Head 'er!    Ketch 'er! 
Jump  up  an'  *  "Jubal  Jew." 
Fer  de  Banger  Picker's  sayin' : 
He  hain't  got  nothin'  to  do. 

WALK  TOM  WILSON 

OLE  Tom  Wilson,  he  had  'im  a  hoss ; 
His  legs  so  long  he  couldn'  git  'em  'cross. 
*  Jubal  Jew  is  a  kind  of  dance  step. 

68 


NEGRO  FOLK  RHYMES 

He  laid  up  dar  lak  a  bag  o'  meal, 

An*  he  spur  him  in  de  flank  wid  his  toenail  heel. 

Ole  Tom  Wilson,  he  come  an'  he  go, 

Frum  cabin  to  cabin  in  de  county-o. 

Wen  he  go  to  bed,  his  legs  hang  do'n, 

An'  his  foots  makes  poles  fer  de  chickens  t*  roost  on. 

Tom  went  down  to  de  river,  an'  he  couldn'  go  'cross. 
Tom  tromp  on  a  'gater  an'  'e  think  'e  wus  a  hoss. 
Wid  a  mouf  wide  open,  'gater  jump  from  de  san', 
An'  dat  Nigger  look  clean  down  to  de  Promus'  Lan'. 

Wa'k  Tom  Wilson,  git  out'n  de  way! 
Wa'k  Tom  Wilson,  don't  wait  all  de  day! 
Wa'k  Tom  Wilson,  here  afternoon; 
Sweep  dat  kitchen  wid  a  bran*  new  broom. 

CHICKEN  PIE 

IF  you  wants  to  make  an  ole  Nigger  feel  good, 

Let  me  tell  you  w'at  to  do : 

Jes  take  off  a  chicken  from  dat  chicken  roost, 

An'  take  'im  along  wid  you. 

Take  a  liddle  dough  to  roll  'im  up  in, 

An'  it'll  make  you  wink  yo'  eye ; 

W'en  dat  good  smell  gits  up  yo'  nose, 

Frum  dat  home-ntade  chicken  pic. 

69 


NEGRO  FOLK  RHYMES 

Jes  go  round  w'en  de  night's  sorter  dark, 

An*  dem  chickens,  dey  can't  see. 

Be  shore  dat  de  bad  dog's  all  tied  up, 

Den  slip  right  close  to  de  tree. 

Now  retch  out  yo'  han'  an'  pull  'im  in, 

Den  run  lak  a  William  goat ; 

An*  if  he  holler,  squeeze  'is  neck, 

An'  shove  'im  un'er  yo'  coat. 

Bake  dat  Chicken  pie! 
It's  mighty  hard  to  wait 
When  you  see  dat  Chicken  pie, 
Hot,  smokin'  on  de  plate. 
Bake  dat  Chicken  pie! 
Yes,  put  in  lots  o'  spice. 
Oh,  how  I  hopes  to  Goodness 
Dat  I  gits  de  bigges'  slice. 


I  AM  NOT  GOING  TO  HOBO  ANY  MORE 

MY  mammy  done  toP  me  a  long  time  ago 
To  always  try  fer  to  be  a  good  boy; 
To  lay  on  my  pallet  an'  to  waller  on  de  flo' ; 
An'  to  never  leave  my  daddy's  house. 
I  hain't  never  gwineter  hobo  no  mo*.     By  George! 
I  hain't  never  gwineter  hobo  no  mo'. 
70 


NEGRO  FOLK  RHYMES 

Yes,  befo'  I'd  live  dat  ar  hobo  life, 

I'll  tell  you  what  I'd  jes  go  an'  do: 

I'd  court  dat  pretty  gal  an'  take  'er  fer  my  wife, 

Den  jes  lay  'side  dat  ar  hobo  life. 

I  hain't  never  gwineter  hobo  no  mo'.    By  George! 

I  hain't  never  gwineter  hobo  no  mo'. 

FORTY-FOUR 

IF  de  people'll  jes  gimme 

Des  a  liddle  bit  o*  peace, 

I'll  tell  'em  what  happen 

To  de  Chief  o'  Perlice. 

He  met  a  robber 

Right  at  de  do' ! 

An'  de  robber,  he  shot  'im 

Wid  a  forty-fo'! 

He  shot  dat  Perliceman. 

He  shot  'im  sho' ! 

What  did  he  shoot  'im  wid? 

A  forty-fo'. 

Dey  sent  fer  de  Doctah 
An'  de  Doctah  he  come. 
He  come  in  a  hurry, 
He  come  in  a  run. 
71 


NEGRO  FOLK  RHYMES 

He  come  wid  his  instilments 
Right  in  his  han', 
To  p rogue  an'  find 
Dat  forty-fo',  Man! 
De  Doctah  he  progued ; 
He  progued  'im  she' ! 
But  he  jes  couldn'  find 
Dat  forty-fo'. 

Dey  sent  fer  de  Preachah, 

An'  de  preachah  he  come. 

He  come  in  a  walk, 

An'  he  come  in  to  talk. 

He  come  wid  'is  Bible, 

Right  in  'is  han', 

An'  he  read  from  dat  chapter, 

Forty-fo',  Man! 

Dat  Preachah,  he  read. 

He  read,  I  know. 

What  Chapter  did  he  read  frum? 

Twus  Forty-fo'! 


PLAY  RHYME  SECTION 


BLINDFOLD  PLAY  CHANT 

OH  blin'  man!     Oh  blin'  man! 
You  cain't  never  see. 
Just  tu'n  'round  three  times 
You  cain't  ketch  me. 

Ohtu'nEas'!    Oh  tu'n  Wes'! 
Ketch  us  if  you  can. 
Did  you  thought  dat  you'd  cotch  us, 
Mistah  blin'  man? 


FOX  AND  GEESE  PLAY 

*  (Fox  Call)   "Fox  in  de  mawnin'!" 

(Goose  Sponse)  "Goose  in  de  evenin'!" 

(Fox  Call)  "How  many  geese  you  got?" 

(Goose  Sponse)  "More  'an  you're  able  to  ketch!" 

*For  explanation  of  "call,"  and  "sponse,"  see  Study 
in  Negro  Folk  Rhymes. 

73 


NEGRO  FOLK  RHYMES 

HAWK  AND  CHICKENS  PLAY 

*  (CHICKEN'S     Call)     "Chickamee,"     chickamee, 
cranie-crow." 

I  went  to  de  well  to  wash  my  toe. 
Wen  I  come  back,  my  chicken  wus 

gone. 
Wat  time,  ole  Witch? 

(Hawk  Sponse)  "One" 

(Hawk  Call)  "I  wants  a  chick." 

(Chicken's  Sponse)  "Well,  you  cain't  git  mine." 

(Hawk  Call)  "I  shall  have  a  chick!" 

(Chicken's  Sponse)   "You  shan't  have  a  chick!" 

CAUGHT  BY  THE  WITCH  PLAY 

(HUMAN  Call)  "Molly,  Molly,  Molly-bright!" 
(Witch  Sponse)  "Three  sco'  an'  ten!" 
(Human  Call)  "Can  we  git  dar  'fore  candle-light?" 
(Witch  Sponse)  "Yes,  if  yo'  legs  is  long  an'  light." 
(Conscience's  Warning  Call)  "You'd  better  watch 

out, 
Or  de  witches'll  git  yer !" 

*  For  explanation  of  "call,"  and  "sponse,"  sec  Study 
in   Negro  Folk  Rhymes. 

74 


NEGRO  FOLK  RHYMES 


GOOSIE-GANDER  PLAY  RHYME 

"GoosiE,  goosie,  goosie-gander ! 
What  d'you  say?"— "Say:  'Goose!'"— 
"Ve'y  well,  go  right  along,  Honey! 
I  tu'ns  yo'  years  a-loose." 

"Goosie,  goosie,  goosie-gander! 
What  d'you  say?"— "Say:  'Gander'" 
"Ve'y  well.    Come  in  de  ring,  Honey! 
I'll  pull  yo'  years  way  yander!" 


HAWK  AND  BUZZARD 

ONCE:  De  Hawk  an'  de  buzzard  went  to  roost, 
An'  de  hawk  got  up  wid  a  broke  off  tooth. 

Den :  De  hawk  an'  de  buzzard  went  to  law, 

An'  de  hawk  come  back  wid  a  broke  up  jaw. 

But  lastly :  Dat  buzzard  tried  to  plead  his  case, 
Den  he  went  home  wid  a  smashed  in  face. 

*  For    explanation    read    the    Study    in    Negro    Folk 
Rhyme*. 

75 


NEGRO  FOLK  RHYMES 


LIKES  AND  DISLIKES 

I  SHO'  loves  Miss  Donie!    Oh,  yes,  I  do! 
She's  neat  in  de  waist, 
Lak  a  needle  in  de  case; 
An'  she  suits  my  taste. 

I'se  gwineter  run  wid  Mollie  Roalin'!    Oh,  yes,  I 
will! 

She's  pretty  an'  nice 
Lak  a  bottle  full  o'  spice, 
But  she's  done  drap  me  twice. 

I  don't  lak  Miss  Jane !    Oh  no,  I  don't. 
She's  fat  an'  stout, 
Got  her  mouf  sticked  out, 
An'  she  laks  to  pout. 


SUSIE  GIRL 

RING  'round,  Miss  Susie  gal, 
Ring  'round,  "My  Dovie." 
Ring  'round,  Miss  Susie  gal. 
Bless  you!    "My  Lovie." 
76 


NEGRO  FOLK  RHYMES 

Back  'way,  Miss  Susie  gal. 
Back  'way,  "My  Money." 
Now  come  back,  Miss  Susie  gal. 
Dat's  right!  "My  Honey." 

Swing  me,  Miss  Susie  gal. 
Swing  me,  "My  Starlin'." 
Jes  swing  me,  my  Susie  gal. 
Yes  "Love!"  "My  Darlin'." 


SUSAN  JANE 

I  KNOW  somebody's  got  my  Lover; 
Susan  Jane !    Susan  Jane ! 
Oh,  cain't  you  tell  me;  help  me  find  'er? 
Susan  Jane!     Susan  Jane! 

If  I  lives  to  see  nex'  Fall; 

Susan  Jane!     Susan  Jane! 

I  hain't  gwineter  sow  no  wheat  at  all. 

Susan  Jane!     Susan  Jane! 

'Way  down  yon'er  in  de  middle  o'  de  branch; 
Susan  Jane!     Susan  Jane! 
De  ole  cow  pat  an'  de  buzzards  dance. 
Susan  Jane!     Susan  Jane! 
77 


NEGRO  FOLK  RHYMES 


PEEP  SQUIRREL 

PEEP  squir'l,  ying-ding-did-lum ; 
Peep  squir'l,  it's  almos'  day, 
Look  squir'l,  ying-ding-did-lum, 
Look  squir'l,  an*  run  away. 

Walk  squir'l,  ying-ding-did-lum; 
Walk  squir'l,  fer  dat's  de  way. 
Skip  squir'l,  ying-ding-did-lum; 
Skip  squir'l,  all  dress  in  gray. 

Run  squir'l!    Ying-ding-did-lum! 
Run  squir'l!    Oh,  run  away! 
I  cotch  you  squir'l!     Ying-ding-did-lum! 
I  cotch  you  squir'l !    Now  stay,  I  say. 


DID  YOU  FEED  MY  COW? 

"Dro  yer  feed  my  cow?"  Yes,  Mam!" 
"Will  yer  tell  me  how?"    "Yes,  Mam!" 
"Oh,  w'at  did  yer  give  'er?"    "Cawn  an*  hay." 
"Oh,  w'at  did  yer  give  'er?"    "Cawn  an'  hay." 
78 


NEGRO  FOLK  RHYMES 

"Did  yer  milk  'er  good  ?"    "Yes,  Mam  I" 
"Did  yer  do  lak  yer  should  ?"    "Yes,  Mam !" 
"Oh,   how   did  yer  milk   'er?"     "Swish!   Swish! 

Swish!" 
"Oh,   how   did   yer   milk  er?"     "Swish!    Swish! 

Swish!" 

"Did  dat  cow  git  sick  ?"    "Yes,  Mam !" 
"Wus  she  kivered  wid  tick?"    "Yes,  Mam!" 
"Oh,  how  wus  she  sick?"    "All  bloated  up." 
"Oh,  how  wus  she  sick  ?"    "All  bloated  up." 

"Did  dat  cow  die?"    "Yes,  Mam!" 
"Wid  a  pain  in  'er  eye?"    "Yes,  Mam!" 
"Oh,  how  did  she  die?"    "Uh-!  Uh-!  Uh-!" 
"Oh,  how  did  she  die?"    "Uh-!  Uh-!  Uh-!" 

"Did  de  Buzzards  come?"    "Yes,  Mam!" 
"Fer  to  pick  'er  bone?"    "Yes,  Mam!" 
"Oh,  how  did  they  come  ?"    "Flop !  Flop !  Flop !" 
"Oh,  how  did  they  come  ?"    "Flop !  Flop !  Flop !" 


A  BUDGET 

IF  I  lives  to  see  nex'  Spring 
I'se  gwineter  buy  my  wife  a  big  gold  ring. 
79 


NEGRO  FOLK  RHYMES 

If  I  lives  to  see  nex'  Fall, 

I'se  gwinter  buy  my  wife  a  waterfall. 

"When  Christmas  comes?"    You  cunnin'  elf! 
I'se  gwineter  spen'  my  money  on  myself. 

THE  OLD  BLACK  GNATS 

DEM  ole  black  gnats,  dey  is  so  bad ! 
I  cain't  git  out'n  here. 
Dey  stings,  an'  bites,  an'  runs  me  mad ; 
I  cain't  git  out'n  here. 

Dem  ole  black  gnats  dey  sings  de  song, 
"You  cain't  git  out'n  here. 
Ole  Satan'll  git  you  befo*  long; 
You  cain't  git  out'n  here." 

Dey  burns  my  years,  gits  in  my  eye; 
An'  I  cain't  git  out'n  here. 
Dey  makes  me  dance,  dey  makes  me  cry; 
An'  I  cain't  git  out'n  here. 

I  fans  an'  knocks  but  dey  won't  go  'way! 
I  cain't  git  out'n  here. 
Dey  makes  me  wish  'twus  Jedgment  Day; 
Fer  I  cain't  git  out'n  here. 
80 


NEGRO  FOLK  RHYMES 

SUGAR  LOAF  TEA 

BRING  through  yo'  *  Sugar-lo'-tea,   bring  through 

yo'  *  Candy, 
All  I  want  is  to  wheel,  an'  tu'n,  an'  bow  to  my  Love 

so  handy. 

You  tu'n  here  on  Sugar-lo'-tea,  I'll  tu'n  there  on 

Candy. 
All  I  want  is  to  wheel,  an'  tu'n,  an'  bow  to  my  Love 

so  handy. 

Some  gits  drunk  on  Sugar-lo'-tea,  some  gits  drunk 

on  Candy, 
But  all  I  wants  is  to  wheel,  an'  tu'n,  an*  bow  to  my 

Love  so  handy. 

GREEN  OAK  TREE!  ROCKY'O 

GREEN  oak  tree!  Rocky'o!  Green  oak  tree!  Rocky'o! 

Call  dat  one  you  loves,  who  it  may  be, 

To  come  an'  set  by  de  side  o'  me. 

"Will  you  hug  'im  once  an'  kiss  'im  twice?" 

"W'y!  I  wouldn'  kiss  'im  once  fer  to  save  'is  life!" 

Green  oak  tree!  Rocky'o!  Green  oak  tree!  Rocky'o! 

*  Nicknames  applied  in  imagination  to  the  women  en- 
gaged in  playing  in  the  Play  Song. 

81 


NEGRO  FOLK  RHYMES 


KISSING  SONG 

A  SLEISH  o'  bread  an'  butter  fried, 
Is  good  enough  fer  yo'  sweet  Bride. 
Now  choose  yo'  Lover,  w'ile  we  sing, 
An'  call  'er  nex'  onto  de  ring. 

"Oh  my  Love,  how  I  loves  you! 
Nothin'  's  in  dis  worl'  above  you. 
Dis  right  han',  fersake  it  never. 
Dis  heart,  you  mus'  keep  forever. 
One  sweet  kiss,  I  now  takes  from  you ; 
Caze  I'se  gwine  away  to  leave  you." 


KNEEL  ON  THIS  CARPET 

JES  choose  yo'  Eas';  jes  choose  yo'  Wes'. 
Now  choose  de  one  you  loves  de  bes'. 
If  she  hain't  here  to  take  'er  part 
Choose  some  one  else  wid  all  yo'  heart. 

Down  on  dis  chyarpet  you  mus'  kneel, 
Shore  as  de  grass  grows  in  de  fiel'. 
Salute  yo'  Bride,  an'  kiss  her  sweet, 
An'  den  rise  up  upon  yo'  feet. 
82 


NEGRO  FOLK  RHYMES 


SALT  RISING  BREAD 

I  LOVES  saltin',  saltin'  bread. 

I  loves  saltin',  saltin'  bread. 

Put  on  dat  skillet,  nev'  mind  de  lead ; 

Caze  I'se  gwineter  cook  dat  saltin'  bread ; 

Yes,  ever  since  my  mammy's  been  dead, 

I'se  been  makin'  an'  cookin'  dat  saltin'  bread. 

I  loves  saltin',  saltin'  bread. 

I  loves  saltin',  saltin'  bread. 

You  loves  biscuit,  butter,  an'  fat? 

I  can  dance  Shiloh  better  'an  dat. 

Does  you  turn  'round  an'  shake  yo'  head  ? — 

Well ;  I  loves  saltin',  saltin'  bread. 

I  loves  saltin',  saltin'  bread. 

I  loves  saltin',  saltin'  bread. 

Wen  you  ax  yo'  mammy  fer  butter  an'  bread, 

She  don't  give  nothin'  but  a  stick  across  yo' 

head. 

On  cracklin's,  you  say,  you  wants  to  git  fed  ? 
Well,  I  loves  saltin',  saltin'  bread. 


NEGRO  FOLK  RHYMES 


PRECIOUS  THINGS 

HOL'  my  rooster,  hoi'  my  hen, 

Pray  don't  tetch  my  *  Gooshen  Ben'. 

Hoi'  my  bonnet,  hoi'  my  shawl, 
Pray  don't  tetch  my  waterfall. 

Hoi'  my  han's  by  de  finger  tips, 

But  pray  don't  tetch  my  sweet  liddle  lips. 


HE  LOVES  SUGAR  AND  TEA 

MISTAH  BUSTER,  he  loves  sugar  an'  tea. 
Mistah  Buster,  he  loves  candy. 
Mistah  Buster,  he's  a  Jim-dandy! 
He  can  swing  dem  gals  so  handy. 

Charlie's  up  an'  Charlie's  down. 
Charlie's  fine  an'  dandy. 
Ev'ry  time  he  goes  to  town, 
He  gits  dem  gals  stick  candy. 

Dat  Niggah,  he  love  sugar  an'  tea. 
Dat  Niggah  love  dat  candy. 
Grecian  Bend. 

84 


NEGRO  FOLK  RHYMES 

Fine  Niggah !    He  can  wheel  'em  'round, 
An'  swing  dem  ladies  handy. 

Mistah  Sambo,  he  love  sugar  an'  tea. 
Mistah  Sambo  love  his  candy. 
Mistah  Sambo;  he's  dat  han'some  man 
What  goes  wid  sister  Mandy. 

HERE  COMES  A  YOUNG  MAN 
COURTING 

HERE  comes  a  young  man  a  courtin'!   Courtin'! 

Courtin' ! 
Here  comes  a  young  man  a-courtin'!     It's  Tidlum 

Tidelum  Day. 
"Say!    Won't  you  have  one  o'  us?     Us,  Sir?    Us, 

Sir? 
Say!    Won't  you  have  one  o'  us,  Sir?"  dem  brown 

skin  ladies  say. 

"You  is  too  black  an'  rusty!    Rusty!    Rusty! 

You  is  too  black  an'  rusty!"  said  Tidlum  Tidelum 

Day. 
"We  hain't  no  blacker  Jan  you,  Sir!  You,  Sir!  You, 

Sir! 
We  hain't  no  blacker  'an  you,  Sir!"  dem  brown 

skin  ladies  say. 

85 


NEGRO  FOLK  RHYMES 

"Pray!    Won't  you  have  one  o'  us,  Sir?    Us,  Sir? 

Us,  Sir? 
Pray!    Won't  you  have  one  o'  us,  Sir?"  say  yaller 

gals  all  gay. 

"You  is  too  ragged  an'  dirty!  Dirty!  Dirty! 
You  is  too  ragged  an'  dirty!"  said  Tidlum  Tidelum 

Day. 

"You  shore  is  got  de  bighead!  Bighead!  Bighead! 
You  shore  is  got  de  bighead!   You  needn'  come  dis 

way. 
We's  good  enough  fer  you,  Sir!     You,  Sir!    You, 

Sir! 
We's  good  enough  fer  you,  Sir!"  dem  yaller  gals 

all  say. 

"De  fairest  one  dat  I  can  see,  dat  I  can  see,  dat  I 

can  see, 
De  fairest  one  dat  I  can  see,"  said  Tidlum  Tidelum 

Day. 
"My  Lulu,  come  an'  wa'k  wid  me,  wa'k  wid  me, 

wa'k  wid  me. 
My  Lulu,  come  an'  wa'k  wid  me.     'Miss  Tidlum 

Tidelum  Day.' " 


86 


NEGRO  FOLK  RHYMES 


ANCHOR  LINE 

FSE  gwine  out  on  de  Anchor  Line,  Dinah! 
I  won't  git  back  'fore  de  summer  time,  Dinah! 
Wen  I  come  back  be  "dead  in  line," 
I'se  gwineter  bring  you  a  dollar  an*  a  dime, 
Shore  as  I  gits  in  from  de  Anchor  Line,  Dinah ! 

If  you  loves  me  lak  I  loves  you,  Dinah ! 

No  Coon  can  cut  our  love  in  two,  Dinah! 

If  you'll  jes  come  an'  go  wid  me, 

Come  go  wid  me  to  Tennessee, 

Come  go  wid  me;  I'll  set  you  free, — Dinah! 


SALLIE 

SALLIE!  Sallie!  don't  you  want  to  marry? 
Sallie!  Sallie!  do  come  an'  tarry! 
Sallie!  Sallie!  Mammy  says  to  tell  her  when. 
Sallie!  Sallie!     She's  gwineter  kill  dat  turkey  hen! 

Sallie!   Sallie!   When  you  goes  to  marry, 
(Sallie  !  Sallie!)  Marry  a  fahmin  man( !) 
(Sallie  Sallie!)    Ev'ry  day'll  be  Mond'y, 
(Sallie!  Sallie!)  Wid  a  hoe-handle  in  yo'  han'! 
87 


NEGRO  FOLK  RHYMES 


*  SONG  TO  THE  RUNAWAY  SLAVE 

Go    'way    from    dat   window,    "My    Honey,    My 

Love!" 

Go  'way  from  dat  window!  I  say. 
De  baby's  in  de  bed,  an'  his  mammy's  lyin'  by, 
But  you  cain't  git  yo'  lodgin'  here. 

Go    'way    from    dat   window,    "My    Honey,    My 

Love!" 

Go  'way  from  dat  window!  I  say; 
Fer  ole  Mosser's  got  'is  gun,  an'  to  Miss'ip'  youse 

been  sol'; 
So  you  cain't  git  yo'  lodgin'  here. 

Go    'way    from   dat   window,    "My    Honey,    My 

Love!" 
Go  'way  from  dat  window!  I  say. 

*  The  story  went  among  Negroes  that  a  runaway  slave 
husband  returned  every  night,  and  knocked  on  the  window 
of  his  wife's  cabin  to  get  food.  Other  slaves  having  be- 
trayed the  secret  that  he  was  still  in  the  vicinity,  he  was 
sold  in  the  woods  to  a  slave  trader  at  reduced  price. 
This  trader  was  to  come  next  day  with  bloodhounds  to 
hunt  him  down.  On  the  night  after  the  sale,  when  the 
runaway  slave  husband  knocked,  the  slave  wife  pinched 
their  baby  to  make  it  cry.  Then  she  sang  the  above 
song  (as  if  singing  to  the  baby),  so  that  he  might,  if  pos- 
sible, effect  his  escape. 

88 


NEGRO  FOLK  RHYMES 

De  baby  keeps  a-cryin';  but  you'd  better  un'erstan' 
Dat  you  cain't  git  yd'  lodgin'  here. 

Go  'way  from  dat  window,  "My  Honey,  My 
Love!" 

Go  'way  from  dat  window !  I  say  ; 

Fer  de  Devil's  in  dat  man,  an'  you'd  better  un'er- 
stan' 

Dat  you  cain't  git  yd'  lodgin'  here. 

DOWN  IN  THE  LONESOME  GARDEN 

HAIN'T  no  use  to  weep,  hain't  no  use  to  moan ; 
Down  in  a  lonesome  gyardin. 
You  cain't  git  no  meat  widout  pickin'  up  a  bone, 
Down  in  a  lonesome  gyardin. 

Look  at  dat  gal!    How  she  puts  on  airs, 
Down  in  de  lonesome  gyardin! 
But  whar  did  she  git  dem  closes  she  w'ars, 
Down  in  de  lonesome  gyardin? 

It  hain't  gwineter  rain,  an'  it  hain't  gwineter 

snow ; 

Down  in  my  lonesome  gyardin. 
You  hain't  gwinter  eat  in  my  kitchen  doo', 
Nor  down  in  my  lonesome  gyardin. 


NEGRO  FOLK  RHYMES 


LITTLE  SISTER,  WON'T  YOU  MARRY 
ME? 

LIDDLE  sistah  in  de  barn,  jine  de  weddin'. 
Youse  de  sweetest  liddle  couple  dat  I  ever  did  see. 
Oh  Love !  Love !    Ahms  all  'round  me ! 
Say,  liddle  sistah,  won't  you  marry  me? 

Oh  step  back,  gal,  an'  don't  you  come  a  nigh  me, 
Wid  all  dem  sassy  words  dat  you  say  to  me. 
Oh  Love !  Love !    Ahms  all  'roun'  me ! 
Oh  liddle  sistah,  won't  you  marry  me? 


RAISE  A  "RUCUS"  TO-NIGHT 

Two  liddle  Niggers  all  dressed  in  white,  (Raise  a 

rucus  to-night.) 
Want  to  go  to  Heaben  on  de  tail  of  a  kite.     (Raise 

a  rucus  to-night.) 
De  kite  string  broke;  dem  Niggers  fell;  (Raise  a 

rucus  to-night.) 
Whar   dem    Niggers   go,    I    hain't   gwineter   tell. 

(Raise  a  rucus  to-night.) 
90 


NEGRO  FOLK  RHYMES 

A  Nigger  an'   a  w'ite  man   a  playin'   seben   up; 

(Raise  a  rucus  to-night.) 
De  Nigger  beat  de  w'ite  man,  but  'e's  skeered  to 

pick  it  up.     (Raise  a  rucus  to-night.) 
Dat  Nigger  grabbed  de  money,  an'  de  w'ite  man  fell. 

(Raise  a  rucus  to-night.) 
How  de  Nigger  run,  Fse  not  gwineter  tell.  (Raise 

a  rucus  to-night.) 

Look  here,  Nigger !   Let  me  tell  you  a  naked  f  ac* : 

(Raise  a  rucus  to-night.) 
You  mought  a  been  cullud  widout  bein'  dat  black; 

(Raise  a  rucus  to-night.) 
Dem  'ar  feet  look  lak  youse  sho'  walkin'  back; 

(Raise  a  rucus  to-night.) 
An'  yd'  ha'r,  it  look  lak  a  chyarpet  tack.  (Raise  a 

rucus  to-night.) 

Oh  come  'long,  chilluns,  come  'long, 
Wile  dat  moon  are  shinin'  bright. 
Let's  git  on  board,  an'  float  down  de  river, 
An'  raise  dat  rucus  to-night. 


NEGRO  FOLK  RHYMES 


SWEET  PINKS  AND  ROSES 

SWEET  pinks  an'  roses,  strawbeers  on  de  vines, 

Call  in  de  one  you  loves,  an'  kiss  'er  if  you  minds. 

Here  sets  a  pretty  gal, 

Here  sets  a  pretty  boy; 

Cheeks  painted  rosy,  an'  deir  eyes  battin'  black. 

You  kiss  dat  pretty  gal,  an'  I'll  stan'  back. 


PASTIME  RHYME  SECTION 


SATAN 

DE  Lawd  made  man,  an'  de  man  made  money. 
De  Lawd  made  de  bees,  an'  de  bees  made  honey. 
De  Lawd  made  ole  Satan,  an'  ole  Satan  he  make  sin. 
Den  de  Lawd,  He  make  a  liddle  hole  to  put  ole 
Satan  in. 

Did  you  ever  see  de  Devil,  wid  his  iron  handled 

shovel, 

A  scrapin'  up  de  san'  in  his  ole  tin  pan  ? 
He  cuts  up  mighty  funny,  he  steals  all  yo'  money, 
He  blinds  you  wid  his  san'.    He's  tryin'  to  git  you, 

man! 


JOHNNY  BIGFOOT 

JOHNNY,  Johnny  Bigfoot! 
Want  a  pair  o'  shoes? 
Go  kick  two  cows  out'n  deir  skins. 
Run  Brudder,  tell  de  news! 
93 


NEGRO  FOLK  RHYMES 


THE  THRIFTY  SLAVE 

JES  wuk  all  day, 

Den  go  huntin'  in  de  wood. 

Ef  you  cain't  ketch  nothing 

Den  you  hain't  no  good. 

Don't  look  at  Mosser's  chickens, 

Caze  dey're  roostin'  high. 

Big  pig,  liddle  pig,  root  hog  or  die! 


WILD  NEGRO  BILL 

I'SE  wild  Nigger  Bill 

Frum  Redpepper  Hill. 

I  never  did  wo'k,  an'  I  never  will. 

I'se  done  killed  de  Boss. 

I'se  knocked  down  de  hoss. 

I  eats  up  raw  goose  widout  apple  sauce ! 

I'se  Run-a-way  Bill, 
I  knows  dey  mought  kill; 
But  ole  Mosser  hain't  cotch  me,  an'  he  never 
will! 

94 


NEGRO  FOLK  RHYMES 


YOU  LOVE  YOUR  GIRL 

You  loves  yo'  gal? 
Well,  I  loves  mine. 
Yo'  gal  hain't  common? 
Well,  my  gal's  fine. 

I  loves  my  gal, 
She  hain't  no  goose — 
Blacker  'an  blackberries, 
Sweeter  'an  juice. 


FRIGHTENED  AWAY  FROM  A  CHICKEN- 
ROOST 

I  WENT  down  to  de  hen  house  on  my  knees, 
An*  I  thought  I  beared  dat  chicken  sneeze. 
You'd  oughter  seed  dis  Nigger  a-gittin'  'way  frum 

dere, 

But  'twusn't  nothin'  but  a  rooster  sayin'  his  prayer. 
How  I  wish  dat  rooster's  prayer  would  en', 
Den  perhaps  I  mought  eat  dat  ole  gray  hen. 


95 


NEGRO  FOLK  RHYMES 


BEDBUG 

DE  June-bug's  got  de  golden  wing, 
De  Lightning-bug  de  flame; 
De  Bedbug's  got  no  wing  at  all, 
But  he  gits  dar  jes  de  same. 

De  Punkin-bug's  got  a  punkin  smell, 
De  Squash-bug  smells  de  wust  ; 
But  de  puffume  of  dat  ole  Bedbug, 
It's  enough  to  make  you  bust. 

Wen  dat  Bedbug  come  down  to  my  house, 

I  wants  my  walkin'  cane. 

Go  git  a  pot  an'  scald  'im  hot ! 

Good-by,  Miss  Lize  Jane ! 


HOW  TO  GET  TO  GLORY  LAND 

IF  you  wants  to  git  to  Glory  Land, 

I'll  tell  you  what  to  do: 

Jes  grease  yo'  heels  wid  mutton  sue, 

Wen  de  Devil's  atter  you. 

Jes  grease  yo'  heel  an'  grease  yo'  han', 

An'  slip  'way — over  into  Glory  Lan*. 

96 


NEGRO  FOLK  RHYMES 


DESTITUTE  FORMER  SLAVE  OWNERS 

Missus  an'  Mosser  a-walkin'  de  street, 
Deir  ban's  in  deir  pockets  an'  nothin'  to  eat. 
She'd  better  be  home  a-washin'  up  de  dishes, 
An'  a-cleanin'  up  de  ole  man's  raggitty  britches. 
He'd  better  run  'long  an'  git  out  de  hoes 
An*  clear  out  his  own  crooked  weedy  corn  rows; 
De  Kingdom  is  come,  de  Niggers  is  free. 
Hain't  no  Nigger  slaves  in  de  Year  Jubilee. 


FATTENING  FROGS  FOR  SNAKES 

You  needn'  sen'  my  gal  boss  apples^ 
You  needn'  sen'  her  'lasses  candy; 
She  would  keer  fer  de  lak  o'  you, 
Ef  you'd  sen'  her  apple  brandy. 

W'y  don't  you  git  some  common  sense? 
Jes  git  a  liddle!    Oh  fer  land  sakes! 
Quit  yo'  foolin',  she  hain't  study  in'  you! 
Youse  jes  fattenin'  frogs  fer  snakes! 


NEGRO  FOLK  RHYMES 


THE  MULE'S  KICK 

Is  dis  me,  or  not  me, 
Or  is  de  Devil  got  me? 
Wus  dat  a  muskit  shot  me? 
Is  I  laid  here  more'n  a  week  ? — 
Dat  ole  mule  do  kick  amazin', 
An'  I  'spec's  he's  now  a-grazin' 
On  de  t'other  side  de  creek. 


CHRISTMAS  TURKEY 

I  PRAYED  to  de  Lawd  fer  tucky-o. 

Dat  tucky  wouldn'  come. 

I  prayed,  an'  I  prayed  'til  I'se  almos'  daid. 

No  tucky  at  my  home. 

Chrismus  Day,  she  almos'  here; 
My  wife,  she  mighty  mad. 
She  want  dat  tucky  mo'  an'  mo'. 
An*  she  want  'im  mighty  bad. 

I  prayed  'til  de  scales  come  on  my  knees, 

An'  still  no  tucky  come. 

I  tuck  myse'f  to  my  tucky  roos', 

An'  I  brung  my  tucky  home. 

98 


NEGRO  FOLK  RHYMES 


A  FULL  POCKETBOOK 

DE  goose  at  de  barn,  he  feel  mighty  funny, 
Caze  de  duck  find  a  pocketbook  chug  full  o'  money. 
De  goose  say:     "Whar  is  you  gwine,  my  Sonny?" 
An'  de  duck,  he  say :    "Now  good-by,  Honey." 

De  duck  chaw  terbacker  an'  de  goose  drink  wine, 
Wid  a  stuffed  pocketbook  dey  sho'  had  a  good  time  ; 
De  grasshopper  played  de  fiddle  on  a  punkin  vine 
'Till  dey  all  fall  over  on  a  sorter  dead  line. 


NO  ROOM  TO  POKE  FUN 

NEV'  mm'  if  my  nose  are  flat, 
An'  my  face  are  black  an'  sooty ; 
De  Jaybird  hain't  so  big  in  song, 
An'  de  Bullfrog  hain't  no  beauty. 


CROOKED  NOSE  JANE 

I  COURTED  a  gal  down  de  lane. 
Her  name,  it  wus  Crooked  Nose  Jane. 
Her  face  wus  white  speckled,  her  lips  wus  all  red, 
An'  she  look  jes  as  lean  as  a  weasel  half-fed. 
99 


NEGRO  FOLK  RHYMES 


BAD  FEATURES 

BLUE  gums  an'  black  eyes; 
Run  'round  an'  tell  lies. 
Liddle  head,  liddle  wit; 
Big  long  head,  not  a  bit. 

Wid  his  long  crooked  toes, 
An'  his  heel  right  roun'; 
Dat  flat-footed  Nigger 
Make  a  hole  in  de  groun'. 


MISS  SLIPPY  SLOPPY 

OLE  Miss  Slippy  Sloppy  jump  up  out'n  bed, 
Den  out'n  de  winder  she  poke  'er  nappy  head, 
"Jack!  O  Jack!  De  gray  goose's  dead. 
Dat  fox  done  gone  an'  bit  off  'er  head !" 

Jack  run  up  de  hill  an'  he  call  Mosser's  hounds ; 
An'  w'en  dat  fox  hear  dem  turble  sounds, 
He  sw'ar  by  his  head  an'  his  hide  all  'round, 
Dat  he  don't  want  no  dinner,  but  a  hole  in  de 
ground. 


100 


NEGRO  FOLK  RHYMES 

HOW  TO  MAKE  IT  RAIN 

Go  kill  dat  snake  an'  hang  him  high, 

Den  tu'n  his  belly  to  de  sky. 

De  storm  an'  rain'll  come  bye  an'  bye. 

A  WIND-BAG 

A  NIGGER  come  a-struttin'  up  to  me  las'  night ; 
In  his  han'  wus  a  walkin'  cane, 
He  tipped  his  hat  an'  give  a  low  bow; 
"Howdy-doo!  Miss  Lize  Jane!" 

But  I  didn'  ax  him  how  he  done, 

Which  make  a  hint  good  pinned, 

Dat  I'd  druther  have  a  paper  bag, 

When  it's  sumpin'  to  be  filled  up  wid  wind. 

GOING  TO  BE  GOOD  SLAVES 

OLE  Mosser  an'  Missus  has  gone  down  to  town, 
Dey  said  dey'd  git  us  somethin'  an'  dat  hain't  no 

jokes. 

Fse  gwineter  be  good  all  de  whilst  dey're  all  'way, 
An'  Fse  gwineter  wear  stockin's  jes  lak  de  white 

folks. 

101 


NEGRO  FOLK  RHYMES 


*PAGE'S  GEESE 

OLE  man  Page'll  be  in  a  turble  rage, 

Wen  he  find  out,  it'll  raise  his  dander. 

Yankee  soldiers  bought  his  geese,  fer  one  cent  a-piece, 

An'  sent  de  pay  home  by  de  gander. 


TO  WIN  A  YELLOW  GIRL 

IF  you  wants  to  win  a  yaller  gal, 
I  tell  you  what  you  do ; 
You  "borrow"  Mosser's  Beaver  hat, 
An'  slip  on  his  Long-tailed  Blue. 


SEX  LAUGH 

YOU'SE  heared  a  many  a  gal  laugh, 
An'  say:  "He!  He-he!  He-he-he!" 
But  you  hain't  heared  no  boy  laugh, 
An'  say:  "She!  She-she!  She-she-she!" 

*  The  Northern  soldiers  during  the  Civil  War  took  all 
of  a  Southern  planter's  geese  except  one  lone  gander. 
They  put  one  penny,  for  each  goose  taken,  into  a  small 
bag  and  tied  this  bag  around  the  gander's  neck.  They 
then  sent  him  home  to  his  owner  with  the  pay  of  one 
penny  for  each  goose  taken.  The  Negroes  of  the  com- 
munity at  once  made  up  this  little  song. 

I O2 


NEGRO  FOLK  RHYMES 


OUTRUNNING  THE  DEVIL 

I  WENT  upon  de  mountain, 
An'  I  seed  de  Devil  comin'. 
I  retched  an'  got  my  hat  an'  coat, 
An'  I  beat  de  Devil  runnin'. 

As  I  run'd  down  across  de  fiel', 
A  rattlesnake  bit  me  on  de  heel. 
I  rears  an'  pitches  an'  does  my  bes', 
An'  I  falls  right  back  in  a  hornet's  nes*. 

For  w'en  I  wus  a  sinnah  man, 

I  rund  by  leaps  an'  boun's. 

I  wus  afeard  de  Devil  'ould  ketch  me 

Wid  his  ole  three  legged  houn's. 

But  now  I'se  come  a  Christun, 
I  kneels  right  down  an*  prays, 
An'  den  de  Devil  runs  from  me — 
I'se  tried  dem  other  ways. 


103 


NEGRO  FOLK  RHYMES 

HOW  TO  KEEP  OR  KILL  THE  DEVIL 

IF  you  wants  to  see  de  Devil  smile, 
Simpully  do  lak  his  own  chile. 

If  you  wants  to  see  de  Devil  git  spunk, 
Swallow  whisky,  an*  git  drunk. 

If  you  wants  to  see  de  Devil  live, 
Cuss  an'  swar  an'  never  give. 

If  you  wants  to  see  de  Devil  run, 
Jes  tu'n  a  loose  de  Gospel  gun. 

If  you  wants  to  see  de  Devil  fall, 
Hit  him  wid  de  Gospel  ball. 

If  you  wants  to  see  de  Devil  beg, 
Nail  him  wid  a  Gospel  peg. 

If  you  wants  to  see  de  Devil  sick, 
Beat  him  wid  a  Gospel  stick. 

If  you  wants  to  see  de  Devil  die, 
Feed  him  up  on  Gospel  pie. 

But  de  Devil  w'ars  dat  iron  shoe, 
An'  if  you  don't  watch,  he'll  slip  it  on  you. 
104 


NEGRO  FOLK  RHYMES 


JOHN  HENRY 

JOHN  HENRY,  he  wus  a  steel-drivin'  man. 

He  died  wid  his  hammer  in  his  han'. 

O  come  long  boys,  an'  line  up  de  track, 

For  John  Henry,  he  hain't  never  comin*  back. 

John  Henry  said  to  his  Cappun  :  "Boss, 
A  man  hain't  nothin'  but  a  man, 
An'  Jfore  I'll  be  beat  in  dis  sexion  gang, 
I'll  die  wid  a  hammer  in  my  han'." 

John  Henry,  he  had  a  liddle  boy, 

He  helt  'im  in  de  pam  of  his  han' ; 

An'  de  las'  word  he  say  to  dat  chile  wus : 

"I  wants  you  to  be  my  steel-drivin'  man." 

John  Henry,  he  had  a  pretty  liddle  wife, 
An'  her  name,  it  wus  Polly  Ann. 
She  walk  down  de  track,  widout  lookin'  back, 
For  to  see  her  big  fine  steel-drivin'  man. 

John  Henry  had  dat  pretty  liddle  wife, 
An'  she  went  all  dress  up  in  red. 
She  walk  ev'y  day  down  de  railroad  track 
To  de  place  whar  her  steel-drivin'  man  fell  dead, 
105 


NEGRO  FOLK  RHYMES 


*THE  NASHVILLE  LADIES 

DEM  Nashville  ladies  dress  up  fine. 

Got  longpail  hoopskirts  hanging  down  behin' ! 

Got  deir  bonnets  to  deir  shoulders  an'  deir  noses  in 

desky! 
Big  pig!  Liddle  pig!  Root  hog,  or  die! 


THE  RASCAL 

I'SE  de  bigges'  rascal  fer  my  age. 
I  now  speaks  from  dis  public  stage. 
Fse  stole  a  cow;  Fse  stole  a  calf, 
An'  dat  hain't  more  'an  jes  'bout  half. 

Yes,  Mosser ! — Lover  of  my  soul ! — 
"How  many  chickens  has  I  stole?" 
Well ;  three  las'  night,  an'  two  night  bef o' ; 
An'  I'se  gwine  'fore  long  to  git  four  mo'. 

But  you  see  dat  hones'  Billy  Ben, 

He  done  e't  more  dan  erry  three  men. 

He  e't  a  ham,  den  e't  a  side; 

He  would  a  e't  mo',  but  you  know  he  died. 

*  The  name  of  the  place  was  used  where  the  rhyme 
was  repeated. 

106 


NEGRO  FOLK  RHYMES 


COFFEE  GROWS  ON  WHITE  FOLKS' 
TREES 

COFFEE  grows  on  w'ite  folks'  trees, 
But  de  Nigger  can  git  dat  w'en  he  please. 
De  w'ite  folks  loves  deir  milk  an'  brandy, 
But  dat  black  gal's  sweeter  dan  'lasses  candy. 

Coffee  grows  on  w'ite  folks  trees, 

An'  dere's  a  river  dat  runs  wid  milk  an'  brandy. 

De  rocks  is  broke  an'  filled  wid  gold, 

So  dat  yaller  gal  loves  dat  high-hat  dandy. 


AUNT  JEMIMA 

OLE  Aunt  Jemima  grow  so  tall, 
Dat  she  couldn'  see  de  groun'. 
She  stumped  her  toe,  an'  down  she  fell 
From  de  Blackwoods  clean  to  town. 

W'en  Aunt  Jemima  git  in  town, 
An'  see  dem  "tony"  ways, 
She  natchully  faint  an'  back  she  fell 
To  de  Backwoods  whar  she  stays. 
107 


NEGRO  FOLK  RHYMES 


THE  MULE'S  NATURE 

IF  you  sees  a  mule  tied  up  to  a  tree, 
You  mought  pull  his  tail  an'  think  about  me. 
For  if  a  Nigger  don't  know  de  natcher  of  a  mule, 
It  makes  no  diffunce  what  'comes  of  a  fool. 


I'M   A  "ROUND-TOWN"  GENTLEMAN 

I  HAIN'T  no  wagon,  hain't  no  dray, 

Jes  come  to  town  wid  a  load  o'  hay. 

I  hain't  no  cornfield  to  go  to  bed 

Wid  a  lot  o'  hay-seeds  in  my  head. 

I'se  a  "round-town"  Gent  an'  I  don't  choose 

To  wuk  in  de  mud,  an'  do  widout  shoes. 


THIS  SUN  IS  HOT 

Dis  sun  are  hot, 
Dis  hoe  are  heavy, 

Dis  grass  grow  furder  dan  I  can  reach; 
An'  as  I  looks 
At  dis  Cotton  fiel', 

I  thinks  I  mus'  'a'  been  called  to  preach. 
108 


NEGRO  FOLK  RHYMES 


UNCLE  JERRY  FANTS 

HAS  you  beared  'bout  Uncle  Jerry  Fonts? 
He's  got  on  some  cu'ious  shapes. 
He's  de  one  what  w'ars  dem  white  duck  pants, 
An'  he  sot  down  on  a  bunch  o'  grapes. 


KEPT  BUSY 

JES  as  soon  as  de  sun  go  down, 
My  True-love's  on  my  min'. 
An'  jes  as  soon  as  de  daylight  breaks 
De  white  folks  is  got  me  a  gwine. 

She's  de  sweetes'  thing  in  town; 
An'  when  I  sees  dat  Nig, 
She  make  my  heart  go  "pitty-pat," 
An'  my  head  go  "whirly-gig." 

CROSSING  A  FOOT-LOG 

ME  an'  my  wife  an*  my  bobtail  dog 
Start  'cross  de  creek  on  a  hick'ry  log. 
We  all  fall  in  an'  git  good  wet, 
But  I  belt  to  my  liddle  brown  jug,  you  bet! 
109 


NEGRO  FOLK  RHYMES 


WATERMELON  PREFERRED 

DAT  hambone  an'  chicken  are  sweet. 
Dat  'possum  meat  are  sholy  fine. 
But  give  me, — now  don't  you  cheat! — 
(Oh,  I  jes  wish  you  would  give  me!) 
Dat  watermillion,  smilin'  on  de  vine. 


"THEY  STEAL"  GOSSIP 

You  know: 

Some  folks  say  dat  a  Nigger  won't  steal, 
But  Mosser  cotch  six  in  a  watermillion  fieP ; 
A-cuttin',   an'   a-pluggin'   an'   a-tearin'  up   de 

vines, 
A-eatin'  all  de  watermillions,  an'  a-stackin'  up 

de  rinds. 

Uh-huh!    Yes,  I  heared  dat: 

Ole  Mosser  stole  a  middlin'  o'  meat, 
Ole  Missus  stole  a  ham; 
Dey  sent  'em  bofe  to  de  Wuk-house, 
An'  dey  had  to  leave  de  land. 


110 


NEGRO  FOLK  RHYMES 


FOX  AND  RABBIT  DRINKING 
PROPOSITIONS 

Fox  on  de  low  ground, 
Rabbit  on  de  hill. 
Says  he:  "I'll  take  a  drink, 
An'  leave  you  a  gill." 

De  fox  say:   "Honey, 

(You  sweet  liddle  elf!) 

Jes  hand  me  down  de  whole  cup ; 

I  wants  it  fer  myself." 


A  TURKEY  FUNERAL 

Dis  tucky  once  on  earth  did  dwell ; 
An'  "Gobble!  Gobble!  Gobble!" 
But  now  he  gives  me  bigges'  joy, 
An'  rests  from  all  his  trouble. 

Yes,  now  he's  happy,  so  am  I; 
No  hankerin'  fer  a  feas': 
Because  I'se  stuffed  wid  tucky  meat, 
An'  he  struts  in  tucky  peace. 
in 


NEGRO  FOLK  RHYMES 


OUR  OLD  MULE 

WE  had  an  ole  mule  an'  he  wouldn'  go  "gee" ; 
So  I  knocked  'im  down  wid  a  single-tree. 
To  daddy  dis  wus  some  mighty  bad  news, 
So  he  made  me  jump  up  an'  outrun  de  Jews. 


THE  COLLEGE  OX 

OLE  Ox !    Ole  Ox !    How'd  you  come  up  here  ? 
You'se  sho'  plowed  de  cotton  fields  for  many  a, 

many  a  year. 
You'se  been  kicked  an'  cuffed  about  wid  heaps  an' 

heaps  abuse. 
Now!  Now,  you  comes  up  here  fer  some  sort  o' 

College  use. 


CARE  IN  BREAD-MAKING 

WEN  you  sees  dat  gal  o'  mine, 
Jes  tell  'er  fer  me,  if  you  please, 
Nex'  time  she  goes  to  make  up  bread 
To  roll  up  'er  dirty  sleeves. 
112 


.  NEGRO  FOLK  RHYMES 


WHY  LOOK  AT  ME? 

WHAT'S  you  lookin'  at  me  fer? 
I  didn'  come  here  to  stay. 
I  wants  dis  bug  put  in  yo'  years, 
An'  den  I'se  gwine  away. 

I'se  got  milk  up  in  my  bucket, 
I'se  got  butter  up  in  my  bowl; 
But  I  hain't  got  no  Sweetheart 
Fer  to  save  my  soul. 


A  SHORT  LETTER 

SHE  writ  me  a  letter 
As  long  as  my  eye. 
An'  she  say  in  dat  letter : 
"My  Honey!— Good-by!" 


DOES  MONEY  TALK? 

DEM  whitefolks  say  dat  money  talk, 
If  it  talk  lak  dey  tell, 
Den  ev'ry  time  it  come  to  Sam, 
It  up  an'  say:  "Farewell!" 


NEGRO  FOLK  RHYMES 


I'LL  EAT  WHEN  I'M  HUNGRY 

I'LL  eat  when  Fse  hongry, 
An'  I'll  drink  when  I'se  dry; 
An'  if  de  whitefolks  don't  kill  me, 
I'll  live  till  I  die. 

In  my  liddle  log  cabin, 
Ever  since  I'se  been  born; 
Dere  hain't  been  no  nothin' 
'Cept  dat  hard  salt  parch  corn. 

But  I  knows  whar's  a  henhouse, 
An'  de  tucky  he  charve; 
An'  if  ole  Mosser  don't  kill  me, 
I  cain't  never  starve. 


HEAR-SAY 

HELLO!  Br'er  Jack.    How  do  you  do? 
I'se  been  a-hearin'  a  heaps  o'  things  'bout  you. 
I'll  jes  declar!    It  beats  de  Dickuns! 
Dey's  been  tryin'  to  say  you's  been  a-stealin' 
chickens ! 


114 


NEGRO  FOLK  RHYMES 


NEGRO  SOLDIER'S  CIVIL  WAR  CHANT 

OLE  *  Abe  (God  bless  'is  ole  soul!) 

Got   a   plenty   good   victuals,    an'    a   plenty   good 

clo'es. 

Got  powder,  an'  shot,  an'  lead, 
To  bust  in  Adam's  liddle  Confed' 
In  dese  hard  times. 

Oh,  once  dere  wus  union,  an'  den  dere  wus  peace; 
De  slave,  in  de  cornfield,  bare  up  to  his  knees. 
But  de  Rebel's  in  gray,  an'  Sesesh's  in  de  way, 
An'  de  slave'll  be  free 
In  dese  hard  times. 


PARODY  ON  "NOW  I  LAY  ME  DOWN  TO 

SLEEP" 

UH-HUH:  "Now  I  lays  me  down  to  sleep  1" — 
While  dead  oudles  o'  bedbugs  'round  me  creep, — 
Well:  If  dey  bites  me  befo'  "I"  wake, 
I  hopes  "deir"  ole  jawbones'll  break. 

*  Abraham  Lincoln. 

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NEGRO  FOLK  RHYMES 

I'LL  GET  YOU,  RABBIT! 

RABBIT!   Rabbit!  You'se  got  a  mighty  habit, 
A-runnin'  through  de  grass, 
Eatin'  up  my  cabbages; 
But  I'll  git  you  shore  at  las'. 

Rabbit!  Rabbit!    Ole  rabbit  in  de  bottoms, 
A-playin'  in  de  san', 
By  to-morrow  mornin', 
You'll  be  in  my  fryin'  pan. 

THE   ELEPHANT 

MY  mammy  gimme  fifteen  cents 

Fer  to  see  dat  elephan'  jump  de  fence. 

He  jump  so  high,  I  didn'  see  why, 

If  she  gimme  a  dollar  he  mought  not  cry. 

So  I  axed  my  mammy  to  gimme  a  dollar, 
Fer  to  go  an'  hear  de  elephan'  holler. 
He  holler  so  loud,  he^skeered  de  crowd. 

Nex'  he  jump  so  high,  he  tetch  de  sky; 
An'  he  won't  git  back  !fore  de  fo'th  o' 

July. 

116 


NEGRO  FOLK  RHYMES 


A  FEW  NEGROES  BY  STATES 

ALABAMMER  Nigger  say  he  love  mush. 
Tennessee  Nigger  say:  "Good  Lawd,  hush!" 

Fifteen  cents  in  de  panel  of  de  fence, 
South  Ca'lina  Nigger  hain't  got  no  sense. 

Dat  Kentucky  Nigger  jes  think  he's  fine, 
'Cause  he  drink  dat  Gooseberry  wine. 

I'se  done  heared  some  twenty  year  ago 

Dat  de  Missippi  Nigger  hafter  sleep  on  de  flo', 

Lousanner  Nigger  fall  out'n  de  bed, 
An'  break  his  head  on  a  pone  o'  co'n  bread. 


HOW   TO    PLEASE    A    PREACHER 

IF  you  wants  to  see  dat  Preachah  laugh, 
Jes  change  up  a  dollar,  an'  give  'im  a  half. 
If  you  wants  to  make  dat  Preachah  sing, 
Kill  dat  tucky  an'  give  him  a  wing. 
If  you  wants  to  see  dat  Preachah  cry, 
Kill  dat  chicken  an'  give  him  a  thigh. 
117 


NEGRO  FOLK  RHYMES 


LOOKING  FOR  A  FIGHT 

I  WENT  down  town  de  yudder  night, 
A-raisin'  san'  an'  a-wantin'  a  fight. 
Had    a    forty   dollar    razzer,    an'    a 

gatlin'  gun, 
Fer  to  shoot  dem  Niggers  down  one 

by  one. 


I'LL  WEAR  ME  A  COTTON  DRESS 

OH,  will  you  wear  red  ?    Oh,  will  you  wear  red  ? 

Oh,  will  you  wear  red,  Milly  Biggers? 

"I  won't  wear  red, 

It's  too  much  lak  Missus'  head. 

I'll  wear  me  a  cotton  dress, 

Dyed  wid  copperse  an'  oak-bark." 

Oh,  will  you  wear  blue?    Oh,  will  you  wear  blue? 
Oh,  will  you  wear  blue,  Milly  Biggers? 
"I  won't  wear  blue, 
It's  too  much  lak  Missus'  shoe. 
I'll  wear  me  a  cotton  dress, 
Dyed  wid  copperse  an'  oak-bark." 
118 


NEGRO  FOLK  RHYMES 

You  sholy  would  wear  gray?     You  sholy  would 

wear  gray? 

You  sholy  would  wear  gray,  Milly  Biggers? 
"I  won't  wear  gray, 
It's  too  much  lak  Missus'  way. 
I'll  wear  me  a  cotton  dress, 
Dyed  wid  copperse  an'  oak-bark." 

Well,  will  you  wear  white?    Well,  will  you  wear 

white  ? 

Well,  will  you  wear  white,  Milly  Biggers? 
"I  won't  wear  white, 
I'd  get  dirty  long  'fore  night. 
I'll  wear  me  a  cotton  dress, 
Dyed  wid  copperse  an'  oak-bark." 

Now,  will  you  wear  black?     Now,  will  you  wear 

black? 

Now,  will  you  wear  black,  Milly  Biggers? 
"I  mought  wear  black, 
Case  it's  de  color  o'  my  back; 
An'  it  looks  lak  my  cotton  dress, 
Dyed  wid  *  copperse  an'  oak-bark." 
*  Copperse  is  copperas,  or  sulphate  of  iron. 


119 


NEGRO  FOLK  RHYMES 


HALF  WAY  DOINGS 

MY  dear  Brudders  an'  Sisters, 

As  I  comes  here  to-day, 

I  hain't  gwineter  take  no  scripture  verse 

Fer  what  I'se  gwineter  say. 

My  words  I'se  gwineter  cut  off  short 
An'  I  'spects  to  use  dis  tex' : 
"Dis  half  way  doin's  hain't  no  'count 
Fer  dis  worl'  nor  de  nex'." 

Dis  half  way  doin's,  Brudderin, 
Won't  never  do,  I  say. 
Go  to  yo'  wuk,  an'  git  it  done, 
An'  den's  de  time  to  play. 

Fer  w'en  a  Nigger  gits  lazy, 
An'  stops  to  take  short  naps, 
De  weeds  an'  grass  is  shore  to  grow 
An'  smudder  out  his  craps. 

Dis  worl'  dat  we's  a  livin'  in 
Is  sumpen  lak  a  cotton  row : 
Whar  each  an'  ev'ry  one  o'  us 
Is  got  his  row  to  hoe. 

120 


NEGRO  FOLK  RHYMES 

An'  w'en  de  cotton's  all  laid  by, 
De  rain,  it  spile  de  bowls, 
If  you  don't  keep  busy  pickin' 
In  de  cotton  fie?  of  yo'  souls. 

Keep  on  a-plowin',  an'  a-hoein*  ; 
Keep  on  scrapin'  off  de  rows  ; 
An'  w'en  de  year  is  over 
You  can  pay  off  all  you  owes. 

But  w'en  you  sees  a  lazy  Nigger 
Stop  workin',  shore's  you're  born, 
You'se  gwineter  see  him  comin'  out 
At  de  liddle  end  of  de  horn. 


TWO  TIMES  ONE 

Two  times  one  is  two. 
Won't  you  jes  keep  still  till  I  gits  through? 
Three  times  three  is  nine. 
You  'tend  to  yo'  business,  an'  I'll  tend  to 
mine. 


121 


NEGRO  FOLK  RHYMES 


HE  PAID  ME  SEVEN  (PARODY) 

"OUR  Fadder,  Which  are  in  Heaben!"— 
White  man  owe  me  leben  and  pay  me  seben. 
"D'y  Kingdom  come !    D'y  Will  be  done  !"— 
An'  if  I  hadn't  tuck  dat,  I  vvouldn'  git  none. 


PARODY    ON    "REIGN,    MASTER   JESUS, 
REIGN!" 

OH  rain!     Oh  rain!     Oh  rain,  "good"  Mosser! 
Rain,  Mosser,  rain!     Rain  hard! 
Rain  flour  an'  lard  an'  a  big  hog  head 
Down  in  my  back  yard. 

An'  w'en  you  comes  down  to  my  cabin, 
Come  down  by  de  corn  fiel'. 
If  you  cain't  bring  me  a  piece  o'  meat, 
Den  bring  me  a  peck  o'  meal. 

Oh  rain !    Oh  rain !    Oh  rain,  "good"  Mosser ! 
Dat  good  rain  gives  mo'  rest. 
"What  d'you  say?    You  Nigger,  dar!"— 
"Wet  ground  grows  grass  best." 
122 


NEGRO  FOLK  RHYMES 


A  REQUEST  TO  SELL 

GWINETER  ax  my  daddy  to  sell  ole  Rose, 
So's  I  can  git  me  some  new  clo's. 
Gwineter  ax  my  daddy  to  sell  ole  Nat, 
So's  I  can  git  a  bran'  new  hat. 
Gwineter  ax  my  daddy  to  sell  ole  Bruise, 
Den  I  can  git  some  Brogran  shoes. 
Now,  I'se  gwineter  fix  myse'f  "jes  so," 
An'  take  myse'f  down  to  Big  Shiloh. 
I'se  gwine  right  down  to  Big  Shiloh 
To  take  dat  t'otfier  Nigger's  beau. 


WE'LL  STICK  TO  THE  HOE 

WE'LL  stick  to  de  hoe,  till  de  sun  go  down. 
We'll  rise  w'en  de  rooster  crow, 
An'  go  to  de  fieP  whar  de  sun  shine  hot, 
To  de  fiel'  whar  de  sugar  cane  grow. 
Yes,  Chilluns,  we'll  all  go! 
We'll  go  to  de  fiel'  whar  de  sun  shine  hot. 
To  de  fiel'  whar  de  sugar  cane  grow. 
123 


NEGRO  FOLK  RHYMES 

Oh,  sing  'long  boys,  f er  de  wuk  hain't  hard ! 

Oh  scrape  an'  clean  up  de  row. 

Fer  de  grass  musn'  grow,  while  de  sun 

shine  hot, 

In  de  fiel'  whar  de  sugar  cane  grow. 
No,  Chilluns.    No,  No! 
Dat  grass  musn'  grow,  while  de  sun  shine 

hot, 
In  de  fiel'  whar  de  sugar  cane  grow. 

Don't  think  'bout  de  time,  fer  de  time 

hain't  long. 

Yo'  life  soon  come  an'  go  ; 
Den  good-bye  fiel'  whar  de  sun  shine  hot, 
To  de  fiel'  whar  de  sugar  cane  grow. 
Yes,  Chilluns.    We'll  all  go! 
Good-by  to  de  fiel'  whar  de  sun  shine  hot, 
To  de  fiel'  whar  de  sugar  cane  grow. 


A   FINE   PLASTER 

WEN  it's  sheep  skin  an'  beeswax, 
It  sho's  a  mighty  fine  plaster: 
De  mo'  you  tries  to  pull  it  off, 
De  mo'  it  sticks  de  faster. 
124 


NEGRO  FOLK  RHYMES 


A    DAY'S    HAPPINESS 

FUST:  I  went  out  to  milk  an'  I  didn'  know  how, 
I  milked  dat  goat  instid  o'  dat  cow; 
While  a  Nigger  a-settin'  wid  a  gapin'  jaw, 
Kept  winkin'  his  eye  at  a  tucky  in  de  straw. 

Den :  I  went  out  de  gate  an'  I  went  down  de  road, 
An'  I  met  Miss  'Possum  an'  I  met  Mistah 

Toad ; 

An*  ev'y  time  Miss  'Possum  'ould  sing, 
Mistah  Toad  'ould  cut  dat  Pigeon's  Wing. 

But :  I  went  in  a  whoop,  as  I  went  down  de  road ; 
I  had  a  bawky  team  an'  a  heavy  load. 
I  cracked  my  whip,  an'  ole  Beck  sprung, 
An'  she  busted  out  my  wagin  tongue. 

Well :  Dat  night  dere  'us  a-gittin'  up,  shores  you're 

born. 
De  louse  go  to  supper,  an'  de  flea  blow  de 

horn. 

Dat  raccoon  paced,  an'  dat  'possum  trot ; 
Dat  ole  goose  laid,  an'  de  gander  sot. 


125 


NEGRO  FOLK  RHYMES 


MASTER  KILLED  A  BIG  BULL 

MOSSER  killed  a  big  bull, 
Missus  cooked  a  dish  full, 
Didn't  give  poor  Nigger  a  mouf  full. 
Humph !     Humph ! 

Mosser  killed  a  fat  lam'. 
Missus  brung  a  basket, 
An'  give  poor  Nigger  de  haslet. 
Eh-eh!    Eh-eh! 

Mosser  killed  a  fat  hog 
Missus  biled  de  middlin's, 
An'  give  poor  Nigger  de  chitlin's. 
Sho!    Sho! 


YOU  HAD  BETTER  MIND  MASTER 

WAY  down  yon'er  in  'Possum  Trot, 
(In  ole  Miss'sip'  whar  de  sun  shines  hot) 
Dere  hain't  no  chickens  an'  de  Niggers  eats  c'on; 
You  hain't  never  see'd  de  lak  since  youse  been  bo'n, 
You'd  better  mm'  Mosser  an'  keep  a  stiff  lip, 
So's  you  won't  git  sol'  down  to  ole  Miss'sip*. 
126 


LOVE  RHYME  SECTION 


PRETTY   LITTLE  PINK 

MY  pretty  liddle  Pink, 

I  once  did  think, 

Dat  we-uns  sho'  would  marry; 

But  Fse  done  give  up, 

Hain't  got  no  hope, 

I  hain't  got  no  time  to  tarry. 

I'll  drink  coffee  dat  flows, 

From  oaks  dat  grows, 

'Long  de  river  dat  flows  wid  brandy. 


A  BITTER  LOVERS'  QUARREL-ONE 
SIDE 

You  nasty  dog !    You  dirty  hog ! 
You  thinks  somebody  loves  you. 
I  tells  you  dis  to  let  you  know 
I  thinks  myse'f  above  you. 
127 


NEGRO  FOLK  RHYMES 


ROSES    RED 

ROSE'S  red,  vi'lets  blue. 
Sugar  is  sweet  but  not  lak  you. 
De  vi'lets  fade,  de  roses  fall; 
But  you  gits  sweeter,  all  in  all. 

As   shore   as   de   grass   grows   'round   de 

stump, 

You  is  my  darlin'  Sugar  Lump. 
Wen  de  sun  don't  shine  de  day  is  cold, 
But  my  love  fer  you  do  not  git  old. 

De  ocean's  deep,  de  sky  is  blue; 
Sugar  is  sweet,  an'  so  is  you  ; 
De  ocean  waves  an'  de  sky  gits  pale, 
But  my  love  are  true,  an'  it  never  fail. 


YOU  HAVE  MADE  ME  WEEP 

YOU'SE  made  me  weep,  you'se  made  me 

mourn, 

You'se  made  me  tears  an'  sorrow. 
So  far'  you  well,  my  pretty  liddle  gal, 
I'se  gwine  away  to-morrow. 
128 


NEGRO  FOLK  RHYMES 

MOURNING   SLAVE   FIANCEES 

LOOK  down  dat  lonesome  road !    Look  down ! 
De  way  are  dark  an'  col'. 
Dey  makes  me  weep,  dey  makes  me  mourn; 
All  'cause  my  love  are  sol'. 

O  don't  you  see  dat  turkle  dove, 
What  mourns  from  vine  to  vine  ? 
She  mourns  lak  I  moans  fer  my  love, 
Lef  many  a  mile  behin'. 

DO  I  LOVE  YOU? 

DOES  I  love  you  wid  all  my  heart  ? — 
I  loves  you  wid  my  liver; 
An'  if  I  had  you  in  my  mouf, 
I'd  spit  you  in  de  river. 

LOVERS'   GOOD-NIGHT 

COTTON  fields  white  in  de  bright  moonlight, 
Now  kiss  yd'  gal'  an'  say  "Good-night." 
If  she  don't  kiss  you,  jes  go  on  'way; 
Hain't  no  need  a-stayin'  ontel  nex'  day. 
129 


NEGRO  FOLK  RHYMES 


VINIE 

I  LOVES  coffee,  an'  I  loves  tea. 
I  axes  you,  Vinie,  does  you  love  me? 

My   day's   study's   Vinie,    an'    my   midnight 

dreams, 
My  apples,  my  peaches,  my  tunnups,  an'  greens. 

Oh,  I  wants  dat  good  'possum,  an'  I  wants  to 

be  free  ; 
But  I  don't  need  no  sugar,  if  Vinie  love  me. 

De  river  is  wide,  an'  I  cain't  well  step  it. 
I  loves  you,  dear  Vinie;  an'  you  know  I  cain't 
he'p  it. 

Dat  sugar  is  sweet,  an'  dat  butter  is  greasy; 
But  I  loves  you,  sweet  Vinie ;  don't  be  oneasy. 

Some  loves  ten,  an'  some  loves  twenty, 
But  I  loves  you,  Vinie,  an'  dat  is  a  plenty. 

Oh  silver,  it  shine,  an'  lakwise  do  tin. 
De  way  I  loves  Vinie,  it  mus'  be  a  sin. 

Well,  de  cedar  is  green,  an'  so  is  de  pine. 
God  bless  you,  Vinie!    I  wish  you  'us  mine. 
130 


LOVE  SONG  RHYME  SECTION 


SHE    HUGGED   ME   AND   KISSED   ME 

I  SEE'D  her  in  de  Springtime, 
I  see'd  her  in  de  Fall, 
I  see'd  her  in  de  Cotton  patch, 
A  cameing  from  de  Ball. 

She  hug  me,  an'  she  kiss  me, 
She  wrung  my  han'  an'  cried. 
She  said  I  wus  de  sweetes'  thing 
Dat  ever  lived  or  died. 

She  hug  me  an'  she  kiss  me. 
Oh  Heaben !    De  touch  o'  her  han' ! 
She  said  I  wus  de  puttiest  thing 
In  de  shape  o'  mortal  man. 

I  told  her  dat  I  love  her, 
Dat  my  love  wus  bed-cord  strong; 
Den  I  axed  her  w'en  she'd  have  me, 
An'  she  jes  say  "Go  long!" 


NEGRO  FOLK  RHYMES 


IT  IS  HARD  TO  LOVE 

IT'S  hard  to  love,  yes,  indeed  'tis. 
It's  hard  to  be  broke  up  in  min'. 
You'se  all  lugged  up  in  some  gal's  heart, 
But  you  hain't  gwineter  lug  up  in 
mine. 


ME  AND   MY  LOVER 

ME  an'  my  Lover,  we  fall  out. 
How  d'you  reckon  de  fuss  begun? 
She  laked  licker,  an'  I  laked  fun, 
An'  dat  wus  de  way  de  fuss  begun. 

Me  an*  my  Lover,  we  fall  out. 
Wat  d'you  reckon  de  fuss  wus  'bout? 
She  loved  bitters,  an'  I  loved  kraut, 
An'  dat  wus  w'at  de  fuss  wus  'bout. 

Me  an'  my  Lover  git  clean  'part. 
How  d'you  reckon  dat  big  fuss  start? 
She's  got  a  gizzard,  an'  Fse  got  a  heart, 
An'  dat's  de  way  dat  big  fuss  start. 

132 


NEGRO  FOLK  RHYMES 


I  WISH    I  WAS  AN  APPLE 

OH  :  I  wish  I  wus  an  apple, 

An'  my  Sallie  wus  anudder. 
What  a  pretty  match  we'd  be, 
Hangin'  on  a  tree  togedder! 

But:  If  I  wus  an  apple, 

An'  my  Sallie  wus  anudder; 
We'd  grow  up  high,  close  to  de  sky, 
Whar  de  Niggers  couldn'  git  'er. 

We'd  grow  up  close  to  de  sun 
An'  smile  up  dar  above; 
Den  we'd  fall  down  'way  in  de  groun' 
To  sleep  an'  dream  'bout  love. 

And :  W'en  we  git  through  a  dreamin', 
We'd  bofe  in  Heaben  wake. 
No  Nigger  shouldn'  git  my  gal 
W'en  'is  time  come  to  bake. 


133 


NEGRO  FOLK  RHYMES 


REJECTED  BY  ELIZA  JANE 

WEN  I  went  'cross  de  cotton  patch 
I  give  my  ho'n  a  blow. 
I  thought  I  heared  pretty  Lizie  say: 
"Oh,  yon'er  come  my  beau !" 

So:  I  axed  pretty  Lizie  to  marry  me, 
An*  what  d'you  reckon  she  said? 
She  said  she  wouldn'  marry  me, 
If  ev'ybody  else  wus  dead. 

An* :  As  I  went  up  de  new  cut  road, 
An'  she  go  down  de  lane; 
Den  I  thought  I  heared  somebody 

say: 
"Good-bye,  ole  Lize  Jane!" 

Well:  Jes  git  'long,  Lizie,  my  true  love. 
Git  'long,  Miss  Lizie  Jane. 
Perhaps  you'll  *  sack  "Ole  Sour  Bill" 
An'  git  choked  on  "Sugar  Cain." 
*  Sack  =  To  reject  as  a  lover. 


134 


COURTSHIP  RHYME  SECTION 

ANTEBELLUM  COURTSHIP  INQUIRY 

(He)  Is  you  a  fly  in'  lark  or  a  settin'  dove? 

(She)  Fse  a  flyin'  lark,  my  honey  Love. 

(He)   Is  you  a  bird  o'  one  fedder,  or  a  bird  o'  two? 

(She)   I'se  a  bird  o'  one  fedder,  w'en  it  comes  to 
you. 

(He)   Den,  Mam: 

I  has  desire,  an'  quick  temptation, 
To  jine  my  fence  to  yd'  plantation. 

INVITED  TO  TAKE  THE  ESCORT'S 
ARM 

Miss,  does  you  lak  strawberries? 
* * * # # 

Den  hang  on  de  vine. 

»        » * *         » 

Miss,  does  you  lak  chicken  ? 

»        * * «         « 

Den  have  a  wing  dis  time. 
135 


NEGRO  FOLK  RHYMES 


SPARKING  OR  COURTING 

I'SE  heaps  older  dan  three. 
I'se  heaps  thicker  dan  barks; 
An'  de  older  I  gits, 
De  mo*  harder  I  sparks. 

I  sparks  fast  an'  hard, 
For  I'se  feared  I  mought  fail. 
Dough  I'se  gittin'  ole, 
I  don't  co't  lak  no  snail. 


A   CLANDESTINE   LETTER 

KIND  Miss:  If  I  sent  you  a  letter, 
By  de  crickets, 
Through  de  thickets, 
How'd  you  answer  better? 

Kind  Suh:  I'd  sen'  you  a  letter, 
By  de  mole, 
Not  to  be  tol'; 
Fcr  dat's  mo'  secretter. 
136 


NEGRO  FOLK  RHYMES 

ANTEBELLUM  MARRIAGE  PROPOSAL 

(A  proposal  of  marriage  with  the  answer  deferred) 

(HE)   De  ocean,  it's  wide;  de  sea,  it's 

deep. 

Yes,  in  yo'  arms  I  begs  to  sleep, 
Not  fer  one  time,  not  fer  three; 
But  long  as  we-uns  can  agree. 

(She)   Please  gimme  time,   Suh,  to  "re- 
ponder;" 

Please  gimme  time  to  "gargalize;" 
Den  'haps  I'll  tu'n  to  "cattlegog," 
An'    answer    up    'greeable    fer    a 
s'prise. 


IF  YOU  FROWN 

IF  you  frowns,  an'  I  frowns, 
Wen  we  goes  out  togedder; 
Den  all  de  t'other  folks  aroun' 
Will  say:  "De  rain  is  fallin'  down 
Right  in  de  sunshine  wedder  I" 

137 


NEGRO  FOLK  RHYMES 

"LET'S  MARRY"  COURTSHIP 
(A   proposal  of  marriage t  with  a  provisional  ac- 
ceptance) 

(HE)  Oh  Miss  Lizie,  how  I  loves  you! 
My  life's  jes  los'  if  you  hain't  true. 
If  you  loves  me  lak  I  loves  you, 
No  knife  cain't  cut  our  love  in  two. 

(She)   Grapevine  warp,  an'  cornstalk  fillin'; 
I'll  marry  you  if  mammy  an'  daddy's 
willin'. 

(He)  Rabbit  hop  an'  long  dog  trot! 

Let's  git  married  if  dey  say  "not." 

COURTSHIP 

(A  proposal  of  marriage  with  its  acceptance) 

KIND  Miss:  Fse  on  de  stage  o'  action, 

Pleadin'  hard  fer  satisfaction, 
Pleadin'  'fore  de  time-thief  late ; 
Darfore,  Ma'm,  now,  *"cra- 

venate." 
*  Cravenate  =  consider. 

138 


NEGRO  FOLK  RHYMES 

If  I  brung  to  you  a  gyarment; 
To  be  cut  widout  scissors, 
An'  to  be  sewed  widout  thread ; 
How  (I  ax  you)  would  you 

make  it, 

Widout  de  needle  sewin* 
An'  widout  de  cloth  spread  ? 

Kind  Suh :  I'd  make  dat  gyarment 

Wid  love  from  my  heart, 
Wid  tears  on  yd'  head; 
We  never  would  part. 


I   WALKED   THE   ROADS 

WELL:  I  walked  de  roads,  till  de  roads  git  muddy. 
I  talked  to  dat  pretty  gal,  till  I  couldn'  stan' 
study. 

Den:  I  say:    "Love  me  liddle,"  I  say;  "Love  me 

long." 

I  say:    "Let  dat  liddle  be  'doggone'  strong! 
For,  shore  as  dat  rat  runs  'cross  de  rafter, 
So  shore  you'se  de  gal,  you'se  de  gal  Fse 
after." 

139 


NEGRO  FOLK  RHYMES 


PRESENTING  A  HAT  TO  PHOEBE 

SISTER  PHOEBE  :  Happy  wus  we, 

Wen  we  sot  under  dat  Juniper  tree. 
Take  dfs  hat,   it'll   keep  yo'  head 

warm. 
Take  dis  kiss,  it'll  do  you  no  harm. 

Sister  Phoebe:  De  hours,  dey're  few; 

But  dis  hat'll  say  I'se  thinkin*  'bout 

you. 

Sugar,  it's  sugar ;  an'  salt,  it's  salt ; 
If  you  don't  love  me,  it's  sho*  yo' 

own  fault. 

WOOING 

WAT  is  dat  a  wukin 
At  yo'  han'  bill  on  de  wall, 
So's  yo'  sperit,  it  cain't  res', 
An'  a  gemmun's  heat,  it  call? 

Is  you  lookin'  fer  sweeter  berries 
Growin'  on  a  higher  bush? 
An'  does  my  combersation  suit? 
If  not,  w'at  does  you  wush? 
140 


COURTSHIP  SONG  RHYME  SECTION 


THE  COURTING  BOY 

WEN  I  wus  a  liddle  boy, 
Jes  fifteen  inches  high; 
De  way  I  court  de  pretty  gals, 
It  make  de  ole  folks  cry. 

De  geese  swim  in  de  middle  pon*. 
De  ducks  fly  'cross  de  clover. 
Run  an'  tell  dem  pretty  gals, 
Dat  I'se  a-comin'  over. 

Ho!    Marindie!    Ho! 

Ho!    Missindie!    Ho! 

Ho!     Malindie!     Ho!  my  gal! 

I'se  gwine  now  to  see  ole  Sal. 


141 


NEGRO  FOLK  RHYMES 


PRETTY  POLLY  ANN 

I'SE  gwinetcr  marry,  if  I  can. 

I'se  gwineter  marry  pretty  Polly  Ann. 

I  axed  Polly  Ann,  fer  to  marry  me. 
She  say  she's  a-lookin'  fer  a  Nigger  dat's 
free. 

Pretty  Polly  Ann's  jes  dressed  so  fine! 
I'll  bet  five  dollars  she  hain't  got  a  dime. 

Pretty  Polly  Ann's  jes  a-puttin'  on  airs, 
She  won't  notice  me,  but  nobody  cares. 

I'll  drop  Polly  Ann,  a-lookin'  lak  a  crane; 
I  'spec's  I'll  marry  Miss  Lize  Jane. 


143 


MARRIAGE  RHYME  SECTION 


SLAVE  MARRIAGE  CEREMONY 
SUPPLEMENT 

DARK  an'  stormy  may  come  de  wedder  ; 
I  jines  dis  he-male  an'  dis  she-male  to- 

gedder. 

Let  none,  but  Him  dat  makes  de  thunder, 
Put  dis  he-male  an'  dis  she-male  asunder. 
I  darfore  'nounce  you  bofe  de  same. 
Be  good,  go  'long,  an'  keep  up  yo'  name. 
De  broomstick's  jumped,  de  worl's  not 

wide. 
She's  now  yo'  own.    Salute  yo'  bride! 


143 


MARRIED  LIFE  RHYME  SECTION 


THE  NEWLY  WEDS 

FIRST  MONT':  "Set  down  in  my  cabin,  Honey!" 

Nex'  Mont':  "Stan'  up,  my  Pie." 
Third  Mont':  "You  go  to  wuk,  you  Wench! 
You  well  to  wuk  as  I !" 


WHEN  I  GO  TO  MARRY 

WEN  I  goes  to  marry, 
I  wants  a  gal  wid  money. 
I  wants  a  pretty  black-eyed  gal 
To  kiss  an'  call  me  "Honey." 

Well,  w'en  I  goes  to  marry, 
I  don't  wanter  git  no  riches. 
I  wants  a  man  'bout  four 

foot  high, 

So's  I  can  w'ar  de  britches. 
144 


NEGRO  FOLK  RHYMES 


BOUGHT  ME  A  WIFE 

BOUGHT  me  a  wife  an'  de  wife  please 
me, 

I  feeds  my  wife  un'er  yon'er  tree. 

My  wife  go:    "Row-row!" 

My  guinea  go:    "Potrack!    Potrack! 

My  chicken  go:     "Gymsack!     Gym- 
sack!" 

My     duck     go:        "Quack-quack! 
Quack-quack!" 

My  dog  go:    "Bow-bow!" 

My  boss  go:  "Whee-whee!     Whee- 
whee!" 

My  cat  go:     "Fiddle-toe!     Fiddle- 
toe!" 


WHEN  I  WAS  A  "ROUSTABOUT" 

WEN  I  wus  a  "Roustabout,"  wild  an'  young, 
I  co'ted  my  gal  wid  a  mighty  slick  tongue. 
I  toP  her  some  oncommon  lies  dere  an'  den. 
I  toP  her  dat  we'd  marry,  but  I  didn'  say  w'en. 
145 


NEGRO  FOLK  RHYMES 

So  on  a  Mond'y  mornin'  I  tuck  her  fer  my  wife. 
Of  co'se  I  wus  'spectin'  an  agreeable  life. 
But  on  a  Chuesd'y  mornin'  she  chuned  up  her  pipe, 
An'  she  'bused  me  more  'an  I'd  been  'bused  all  my 
life. 

On  a  Wednesd'y  evenin',  as  I  come  'long  home, 
I  says  to  myse'f  dat  she  wus  all  my  own  ; 
An'  on  a  Thursd'y  night  I  went  out  to  de  woods, 
An'  I  cut  me  two  big  fine  tough  leatherwoods. 

So  on  a  Frid'y  mornin'  w'en  she  roll  me  'er  eyes, 
I  retched  fer  my  leatherwoods  to  give  'er  a  s'prise, 
Dem  long  keen  leatherwoods  wuked  mighty  well, 
An'  'er  tongue,  it  jes  rattle  lak  a  clapper  in  a  bell. 

On  a  Sadd'y  mornin'  she  sleep  sorter  late ; 

An'  de  las'  time  I  see'd  her,  she  'us  gwine  out  de 

gate. 
I  wus  feedin'  at  de  stable,  lookin'  out  through  a 

crack, 
An'  she  lef  my  log  cabin  'fore  I  could  git  back. 

On  a  Sund'y  mornin',  as  I  laid  on  my  bed, 
I  didn'  have  no  Nigger  wife  to  bother  my  head. 
Now  whisky  an'  brandy  jug's  my  biges'  bes'  friend, 
An'  my  long  week's  wuk  is  about  at  its  end. 
146 


NEGRO  FOLK  RHYMES 

MY  FIRST  AND  MY  SECOND  WIFE 

MY  fust  liddle  wife  wus  short  an'  fat. 
Her  face  wus  as  black  as  my  ole  hat, 
Her  nose  all  flat,  an'  her  eyes  sunk  in, 
An'  dat  lip  hang  down  below  her  chin. 
Now  wusn't  I  sorrowful  in  mind? 

Wen  I  went  down  to  dat  wife's  brother  ; 
He    said:      "She    'us    tired.      Gwineter 

marry  'nother." 
If  I  ever  ketches  dat  city  Coon, 
He  railly  mought  see  my  razzer  soon. 

Den  I  'spec's  he'd  be  troubled  in  mind ! 

My  nex'  wife  hug  an'  kiss  me, 
She  call  me  "Sugar  Plum!" 
She  throw  her  arms  'round  me, 
Lak  a  grapevine  'round  de  gum! 
Wusn't  dat  glory  to  my  soul! 

Her  cheeks,  dey're  lak  de  cherry; 
Dat  Cherry,  it's  lak  de  rose. 
Wid  a  liddle  dimple  in  her  chin, 
An'  a  liddle  tu'ned  up  nose! 
Oh,  hain't  I  happy  in  mind  I 
H7 


NEGRO  FOLK  RHYMES 

I'se  got  you,  Lou,  now  fer  my  wife. 
Keep  new  Coons  'way,  "My  Pie!" 
Caze,  if  you  don't,  I  tells  you  now, 
Dat  we  all  three  mought  die. 

Den  we'd  be  troubled  in  min' ! 


GOOD-BY,  WIFE! 

I  HAD  a  liddle  wife, 

An'  I  didn'  want  to  kill  'er; 

So  I  tuck  'er  by  de  heels, 

An'  I  throwed  'er  in  de  river. 

"Good-by,  Wife!    Good-by,  Honey! 

Hadn'  been  fer  you, 

I'd  a  had  a  liddle  money." 

My  liddle  fussy  wife 

Up  an'  say  she  mus'  have  scissors; 

An'  druther  dan  to  fight, 

I'd  a  throwed  'er  in  three  rivers. 

But  she  crossed  dem  fingers,  w'en  she  go 

down, 

An'  a  liddle  bit  later 
She  walk  out  on  de  groun'. 

148 


NURSERY  RHYME  SECTION 


*  AWFUL   HARBINGERS 

WEN  de  big  owl  whoops, 

An'  de  screech  owl  screeks, 

An'  de  win'  makes  a  howlin'  sound; 

You  liddle  wooly  heads 

Had  better  kiver  up, 

Caze  de  "hants"  is  comin'  'round. 


THE   LAST   OF  JACK 

I  HAD  a  liddle  dog,  his  name  wus  Jack; 
He  run  forty  mile  'fore  he  look  back. 
Wen  he  look  back,  he  fall  in  a  crack; 
Wen  he  fall  in  a  crack,  he  break  'is  back; 
An'  dat  wus  de  las'  o'  poor  liddle  Jack. 

*This  little  rhyme  is  based  upon  a  superstition  once 
current  among  Negroes,  to  the  effect  that  bad  luck  would 
come  when  a  screech  owl  called  near  your  home  at 
night  unless,  upon  hearing  him,  you  would  stick  the 
handle  of  a  shovel  into  the  fire  about  which  you  were 
sitting,  or  would  throw  salt  into  it.  The  word  "hant" 
means  ghost  or  spirit 

149 


NEGRO  FOLK  RHYMES 


LITTLE  DOGS 

I  HAD  a  liddle  dog;  his  name  wus  Ball; 
Wen  I  give  him  a  liddle,  he  want  it  all. 

I  had  a  liddle  dog,  his  name  wus  Trot ; 
He  helt  up  his  tail,  all  tied  in  a  knot. 

I  had  a  liddle  dog,  his  name  wus  Blue; 
I  put  him  on  de  road,  an'  he  almos'  flew. 

I  had  a  liddle  dog,  his  name  wus  Mack; 
I  rid  his  tail  fer  to  save  his  back. 

I  had  a  liddle  dog,  his  name  wus  Rover; 
Wen  he  died,  he  died  all  over. 

I  had  a  liddle  dog,  his  name  wus  Dan; 
An*  w'en  he  died,  I  buried  'im  in  de  san'. 


MY  DOG,   CUFF 

I  HAD  a  liddle  dog,  his  name  wus  Cuff; 
I  sent  'im  to  town  to  buy  some  snuff. 
He  drapped  de  bale,  an'  he  spilt  de  snuff, 
An*  I  guess  dat  speech  is  long  enough. 
150 


NEGRO  FOLK  RHYMES 

SAM   IS  A  CLEVER   FELLOW 

SAY!     Is  yo'  peaches  ripe,  my  boy, 
An'  is  yo'  apples  meller? 
Go  an'  tell  Miss  Katie  Jones 
Dat  Sam's  a  clever  feller. 

Say!    Is  yo'  cherries  red,  my  boy, 
An'  is  yo'  plums  all  yeller? 
Oh  please  run  tell  Miss  Katie  Jones 
Dat  Sam's  a  clever  feller. 

THE   GREAT   OWL'S   SONG 

AH-HOO-HOO?    Ah-hoo-hoo?    Ah-hoo-hoo ? 

An'  who'll  cook  fer  Kelline,  an'  who'll  cook  fer 
you ? 

I  will  cook  fer  myse'f,  I  won't  cook  fer  you. 

Ah-hoo-hoo !    Ah-hoo-hoo !    Ah-hoo ! 

Ah-hoo-hoo!  Ah-hoo-hoo!  Ah-hoo-hoo!  Ah- 
hoo ! 

I  wonder  if  Kelline  would  not  cook  fer  Hue ? 

Fer  dis  is  Big  Sandy!    It's  Big  Sandy  Hue ! 

Ah-hoo-hoo!  Ah-hoo-hoo!  Ah-hoo-hoo!  Ah- 
hoo—! 


NEGRO  FOLK  RHYMES 

Ah-ha-hah!        Ah-ha-hah!        Ah-ha-hah!        Ah- 

hah ! 

I  thought  you  'us  ole  Bill  Jack  as  black  as  de  tah. 
You  really  must  'scuse  me,  my  "Honey  Lump  Pa." 
Ah-ha-hah!        Ah-ha-hah!        Ah-ha-hah!        Ah- 

hah ! 

An'  since  I'se  been  Kelline,  an'  you'se  Big  Sandy 

Hue; 

I  will  cook  fer  myse'f,  an'  I  will  cook  fer  you. 
I'll  love  you  forever,  an'  sing  in  de  dew: 
"Ah-hoo-hoo!      Ah-hoo-hoo!      Ah-hoo-hoo!      Ah- 

hoo !" 

YES  ! — Ah-hoo-hoo !  Ah-hoo-hoo !  Ah-hoo-hoo ! 
Ah-hoo-all! 

Now,  we'll  cook  fer  ourse'fs,  but  who'll  cook  fer 
you  all? 

Fer  Tom  Dick  an'  his  wife*  fer  Pete  Snap  an'  Shoe- 
Awl, 

Rough  Shot  De  Shoe-boot,  an'  de  Lawd  He  knows 
who  all? 


15* 


NEGRO  FOLK  RHYMES 


HERE   I   STAND 

HERE  I  stan',  raggity  an'  dirty; 
If  you  don't  come  kiss  me,  I'll  run  lak  a 
tucky. 

Here  I  stan'  on  two  liddle  chips, 
Pray,  come  kiss  my  sweet  liddle  lips. 

Here  I  stan'  crooked  lak  a  horn ; 

I  hain't  had  no  kiss  since  I'se  been  born. 


PIG  TAIL 

RUN  boys,  run! 
De  pig  tail's  done. 
If  you  don't  come  quick, 
You  won't  git  none. 

Pig  ham's  dere, 
Lakwise  middlin's  square; 
But  dese  great  big  parts 
Hain't  no  Nigger's  bes'  fare. 

153 


NEGRO  FOLK  RHYMES 

A,  B,  C 

A,  B,  C, 

Doubled  down  D; 

I'se  so  lazy  you  cain't   see  me. 

A,  B,  C, 

Doubled  down  D 

Lazy  Chilluns  gits  hick'ry  tea. 

A,  B,  C, 

Doubled  down  D, 

Dat  "cat's"  in  de  cupboard  an'  hid.  You  see? 

A,  B,  C, 

Doubled  down  D, 

You'd  better  come  out  an'  wuk  lak  me. 

NEGRO   BAKER   MAN 

PATTY  cake!    Patty  cake!    Nigger  Baker  man. 
Missus  an'  Mosser  gwineter  ketch  'im  if  dey  can. 
Put  de  liddle  Nigger  in  Mosser's  dish  pan, 
An'  scrub  'im  off  good  fer  de  ole  San'  Man. 


154 


NEGRO  FOLK  RHYMES 

STICK-A-MA-STEW 

STICK-A-MA-STEW,  he  went  to  town. 
Stick-a-ma-stew,  he  tore  'is  gown. 
All  dem  folks  what  live  in  town 
Cain't  mend  dat  randsome,  handsome 
gown. 


BOB-WHITE'S  SONG 

BOB-WHITE  !    Bob-white ! 
Is  yo'  peas  all  ripe? 
No — !  not — !  quite! 

Bob-white !  Bob-white ! 
Wen  will  dey  be  ripe? 
To-mor — !  row — !  might! 

Bob-white !  Bob-white ! 
Does  you  sing  at  night  ? 
No — !  not — !  quite! 

Bob-white !    Bob-white ! 
Wen  is  de  time  right  ? 
At  can—!  die—!  light! 
1.55 


NEGRO  FOLK  RHYMES 

COOKING  DINNER 

Go:  BILE  dem  cabbage  down. 
Turn  dat  hoecake  'round, 
Cook  it  done  an'  brown. 

Yes :  Gwineter  have  sweet  taters  too. 
Hain't  had  none  since  las'  Fall, 
Gwineter  eat  'em  skins  an'  all. 

CHUCK  WILL'S  WIDOW  SONG 

OH  nimber,  nimber  Will-o ! 
My  crooked,  crooked  bill-o! 
Fse  settin'  down  right  now,  on 
de  sweet  pertater  hill-o. 

Oh  nimber,  nimber  Will-o! 
My  crooked,  crooked  bill-o ! 
Two  liddle  naked  babies,  my  two 
brown  aigs  now  fill-o. 

Oh  nimber,  nimber  Will-o! 
My  crooked,  crooked  bill-o! 
Don't  hurt  de  liddle  babies;  dey 
is  too  sweet  to  kill-o. 

156 


NEGRO  FOLK  RHYMES 

BRIDLE  UP  A  RAT 

BRIDLE  up  er  rat, 
Saddle  up  er  cat, 
An'  han'  me  down  my  big  straw  hat. 

In  come  de  cat, 

Out  go  de  rat, 

Down  go  de  baby  wid  'is  big  straw  hat. 

MY  LITTLE  PIG 

You  SEE:  I  had  a  liddle  pig, 
I  fed  'im  on  slop; 
He  got  so  fat 
Dat  he  almos'  pop. 

An*  den :  I  tuck  de  liddle  pig, 

An'  I  rid  'im  to  school ; 
He  e't  ginger  cake, 
An'  it  tu'n  'im  a  fooL 

But  he  grunt  de  lessons, 
An'  keep  all  de  rule, 
An'  he  make  'em  all  think 
Dat  he  learn  in  de  cool. 
157 


NEGRO  FOLK  RHYMES 


IN  A   MULBERRY  TREE 

JES  looky,  looky  yonder ;  w'at  I  see ! 
Two  liddle  Niggers  in  a  Mulberry  tree. 
One  cain't  read,  an*  de  t'other  cain't  write. 
But  dey  bofe  can  smoke  deir  daddy's  pipe. 

"One  ma  two!     One  ma  two!" 
Dat  Mulberry  Witch,  he  *titterer  too. 
"Big  bait  o'  Mulberries  make  'em  bofe  sick. 
Dem  liddle  Niggers  gwineter  roll  an'  kick!" 


ANIMAL  ATTIRE 

DAT  Coon,  he  w'ar  a  undershirt; 
Dat  'Possum  w'ar  a  gown. 
Br'er  Rabbit,  he  w'ar  a  overcoat 
Wid  buttons  up  an'  down. 

Mistah    Gobbler's   got   beads   'roun* 

'is  nee'. 

Mistah  Pattridge's  got  a  collar,  Hun ! 
Mistah  Peacock,  a  fedder  on  his  head! 
But  dese  don't  stop  no  gun. 
Titterer  means  laugh. 

158 


NEGRO  FOLK  RHYMES 


ASPIRATION 

IF  I  wus  de  President 
Of  dese  United  States, 
I'd  eat  good  'lasses  candy, 
An*  swing  on  all  de  gates. 


ANIMAL  FAIR 

HAS  you  ever  hearn  tell  'bout 

de  Animal  Fair? 
Dem   birds   an'   beasts  wus   all 

down  dere. 
Dat  jaybird  a-settin'  down  on  'is 

wing ! 
Has  you  ever  hearn  tell  about 

sitch  a  thing 
As  whut  'us  at  dat  Animal  Fair  ? 

Well,  dem  animals  had  a  Fair. 
Dem  birds  an'  beasts  wus  dere. 
De  big  Baboon, 
By  de  light  o'  de  moon, 
Jes  comb  up  his  sandy  hair. 
159 


NEGRO  FOLK  RHYMES 

De  monkey,  he  git  drunk, 

He  kick  up  a  red  hot  chunk. 

Dem  coals,  dey  'rose ; 

An'  bu'nt  'is  toes! 

He  dumb  de  Elephan's  trunk. 

I  went  down  to  de  Fair. 

Dem  varmints  all  wus  dere. 

Dat  young  Baboon 

Wunk  at  Miss  Coon; 

Dat  curled  de  Elephan's  hair. 

De  Camel  den  walk  'bout, 
An'  tromped  on  de  Elephan's 

snout. 

De  Elephan'  sneeze, 
An'  fall  on  his  knees; 
Dat  pleased  all  dem  monkeys. 


LITTLE  BOY  WHO  COULDN'T  COUNT 

SEVEN 

ONCE  der  wus  a  liddle  boy  dat  couldn'  count  one. 
Dey  pitched  him  in  a  fedder  bed ;  'e  thought  it 
great  big  fun. 

1 60 


NEGRO  FOLK  RHYMES 

Once  der  wus  a  liddle  boy  dat  couldn'  count  two. 
Dey  pitched  him  in  a  fedder  bed;  'e  thought  'e  'us 
gwine  through. 

Once  der  wus  a  liddle  boy  dat  couldn'  count  three. 
Dey  pitched  him  in  a  fedder  bed;  Je  thought  de 
Niggers  'us  free. 

Once  der  wus  a  liddle  boy  dat  couldn'  count  fo*. 
Dey  pitched  him  in  a  fedder  bed;  'e  jumped  out 
on  de  flo'. 

Once  der  wus  a  liddle  boy  dat  couldn'  count  five. 
Dey  pitched  him  in  a  fedder  bed;  'e  thought  de 
dead  alive. 

Once  der  wus  a  liddle  boy  dat  couldn'  count  six. 
Dey  pitched  him  in  a  fedder  bed;  'e  never  did  git 
fix! 

Once  der  wus  a  liddle  boy  dat  couldn'  count  seben. 
Dey  pitched  him  in  a  fedder  bed;  'e  thought  he's 
gwine  to  Heaben! 


NEGRO  FOLK  RHYMES 


MISS  TERRAPIN  AND  MISS  TOAD 

As  I  went  marchin'  down  de  road, 
I  met  Miss  Tearpin  an'  I  met  Miss  Toad. 
An'  ev'ry  time  Miss  Toad  would  jump, 
Miss  Tearpin  would  peep  from  'hind  de  stump. 

I  axed  dem  ladies  fer  to  marry  me, 

An'  bofe  find  fault  wid  de  t'other,  you  see. 

"If  you  marries  Miss  Toad,"   Miss  Tearpin 

said, 
"You'll  have  to  hop  'round  lak  you'se  been  half 

dead!" 

"If  you  combs  yo'  head  wid  a  Tearpin  comb, 
You'll  have  to  creep  'round  all  tied  up  at  home." 
I  run'd  away  frum  dar,  my  foot  got  bruise, 
For  I  didn't  know  zackly  which  to  choose. 


FROM   SLAVERY 

CHILE  :    I  come  from  out'n  slavery, 
Whar  de  Bull-whup  bust  de  hide; 
Back  dar,  whar  dis  gineration 
Natchully  widdered  up  an'  died! 
162 


NEGRO  FOLK  RHYMES 

THE  END  OF  TEN  LITTLE  NEGROES 

TEN  liddle  Niggers,  a-eatin',  fat  an'  fine; 
One  choke  hisse'f  to  death,  an'  dat  lef  nine. 
Nine  liddle  Niggers,  dey  sot  up  too  late; 
One  sleep  hisse'f  to  death,  an'  dat  lef  eight. 
Eight  liddle  Niggers  want  to  go  to  Heaben; 
One  sing  hisse'f  to  death,  an'  dat  lef  seben. 
Seben  liddle  Niggers,  a-pickin'  up  sticks; 
One  wuk  hisse'f  to  death,  an'  dat  lef  six. 
Six  liddle  Niggers  went  out  fer  to  drive; 
Mule  run  away  wid  one,  an'  dat  lef  five. 
Five  liddle  Niggers  in  a  cold  rain  pour; 
One  coughed  hisse'f  to  death,  an'  dat  lef  four. 
Four  liddle  Niggers,  climb  a'  apple  tree; 
One  fall  down  an'  out,  an'  dat  lef  three. 
Three  liddle  Niggers  a-wantin'  sumpin  new; 
One,  he  quit  de  udders,  an'  dat  lef  two. 
Two  liddle  Niggers  went  out  fer  to  run; 
One  fell  down  de  bluff,  an'  dat  lef  one. 
One  liddle  Nigger,  a-foolin'  wid  a  gun; 
Gun  go  off  "bang!"  an'  dat  lef  none. 


163 


NEGRO  FOLK  RHYMES 


THE  ALABAMA  WAY 

WAY  down  yon'er  "in  de  Alerbamer  way," 
De  Niggers  goes  to  wo'k  at  de  peep  o'  de 

day. 

De  bed's  too  short,  an'  de  high  posts  rear; 
De  Niggers  needs  a  ladder  fer  to  climb  up 

dere. 

De  cord's  wore  out,  an'  de  bed-tick's  gone. 
Niggers'  legs  hang  down  fer  de  chickens 

t'  roost  on. 


MOTHER  SAYS  I  AM  SIX  YEARS  OLD 

MY  mammy  says  dat  I'se  too  young 
To  go  to  Church  an'  pray; 
But  she  don't  know  how  bad  I  is 
W'en  she's  been  gone  away. 

My  mammy  says  I'se  six  years  old, 
My  daddy  says  I'se  seben. 
Dat's  all  right  how  old  I  is, 
Jes  since  I'se  a  gwine  to  Heaben. 


NEGRO  FOLK  RHYMES 

THE  ORIGIN  OF  THE   SNAKE 

UP  de  hill  an*  down  de  level! 
Up  de  hill  an'  down  de  level! 
Granny's  puppy  treed  de  Devil. 

Puppy  howl,  an'  Devil  shake! 
Puppy  howl,  an'  Devil  shake! 
Devil  leave,  an'  dere's  yd'  snake. 

Mash  his  head;  de  sun  shine  bright! 
Mash  his  head;  de  sun  shine  bright; 
Tail  don't  die  ontel  it's  night. 

Night  come  on,  an'  sperits  groan! 
Night  come  on,  an'  sperits  groan! 
Devil  come  an'  gits  his  own. 

WILD  HOG  HUNT 

NIGGER  in  de  woods,  a-settin'  on  a  log; 
Wid  his  finger  on  de  trigger,  an'  his  eyes 

upon  de  hog. 

De  gun  say  "bam !"  an'  de  hog  say  "bip !" 
An'  de  Nigger  grab  dat  wild  hog  wid  all 

his  grip. 

165 


NEGRO  FOLK  RHYMES 

A   STRANGE    BROOD 

DE  ole  hen  sot  on  tucky  aigs, 
An'  she  hatch  out  goslin's  three. 
Two  wus  tuckies  wid  slender  legs, 
An'  one  wus  a  bumblebee. 
All  dem  hens  say  to  one  nudder : 
"Mighty  queer  chickens!   See?" 

THE  TOWN  AND  THE  COUNTRY  BIRD 

JAYBIRD  a-swingin'  a  two  hoss  plow  ; 
"Sparrer,  why  not  you?" 
"W'y— !    My  legs  so  liddle  an' slen- 
der, man, 
Fse  fear'd  dey'd  break  in  two." 

Jaybird  answer:  "What'd  you  say? — 
I  sometimes  worms  terbaccy; 
But  I'd  druther  plow  sweet  taters  too, 
Dan  to  be  a  ole  Town  Tacky!" 

Jaybird  up  in  de  Sugar  tree, 
De  sparrer  on  de  groun'; 
De  jaybird  shake  de  sugar  down, 
An'  de  sparrer  pass  it  'roun'. 
166 


NEGRO  FOLK  RHYMES 

De  jaybird  say:  "Save  some  fer  me; 
I  needs  it  w'en  I  bakes." 
De  sparrer  say:    "Use  'lasses,  Suh! 
Dat  suits  fer  Country-Jakes!" 


FROG  IN  A  MILL  (*  GUINEA  OR  EBO 
RHYME) 

ONCE  dere  wus  er  frog  dat  lived  in  er  mill. 
He  had  er  raker  don  la  bottom  o'  la  kimebo 
Kimebo,  nayro,  dilldo,  kiro 
Stimstam,  formididdle,  all-a-board  la  rake  ; 
Wid  er  raker  don  la  bottom  o'  la  kimebo. 

STRONG  HANDS 

HERE'S  yo'  bread,  an'  here's  yo'  butter; 

An'  here's  de  hands  fer  to  make  you  sputter. 

Tetch  dese  hands,  w'en  you  wants  to  tetch  a  beaver. 
If  dese  hands  tetch  you,  you'll  sho'  ketch  de  fever. 

Dese  hands  Samson,  good  fer  a  row, 
W'en  dey  hits  you,  it's  "good-by  cow!" 

*For    explanation,    read    the    Study    in    Negro    Folk 
Rhymes. 

167 


NEGRO  FOLK  RHYMES 


TREE  FROGS  (GUINEA  OR  EBO  RHYME) 

SHOOL!      Shool!      Shool! 

I  rule! 
Shool!     Shool!     Shool!     I 

rule! 

Shool!    Shacker-rack! 
I  shool  bubba  cool. 

Seller!    Beller  eel! 
Fust  to  ma  tree'l 
Just  came  er  bubba. 
Buska!     Buska-reel! 


WHEN  I  WAS  A  LITTLE  BOY 

WEN  I  wus  a  liddle  boy 
I  cleaned  up  mammy's  dishes; 
Now  I  is  a  great  big  boy, 
I  wears  my  daddy's  britches. 
I  can  knock  dat  Mobile  Buck 
An'  smoke  dat  corncob  pipe. 
I  can  kiss  dem  pretty  gals, 
An'  set  up  ev'ry  night. 
1 68 


NEGRO  FOLK  RHYMES 


GRASSHOPPER  SENSE 

DERE  wus  a  liddle  grasshopper 
Dat  wus  always  on  de  jump; 
An'  caze  he  never  look  ahead, 
He  wus  always  gittin'  a  bump. 

Huddlety,  dumpty,  dumpty,  dump! 
Mind  out,  or  you  will  git  a  bump; 
Shore  as  de  grass  grows  'round  de  stump 
Be  keerful,  my  sweet  Sugar  Lump. 


YOUNG  MASTER  AND  OLD  MASTER 

HICK'RY  leaves  an'  calico  sleeves! 
I  tells  you  young  Mosser's  hard  to  please. 
Young  Mosser  fool  you,  de  way  he  grin. 
De  way  he  whup  you  is  a  sin. 

De  monkey's  a-settin'  on  de  end  of  a  rail, 
Pickin'  his  tooth  wid  de  end  of  his  tail. 
Mulberry  leaves  an'  homespun  sleeves! 
Better  know  dat  ole  Mosser's  not  easy  to 
please. 

169 


NEGRO  FOLK  RHYMES 


MY   SPECKLED    HEN 

SOMEBODY  stole  my  speckled  hen. 
Dey  lef  me  mighty  poo*. 
Ev'ry  day  she  layed  three  aigs, 
An'  Sunday  she  lay  fo'. 

Somebody  stole  my  speckled  hen. 
She  crowed  at  my  back  do'. 
Fedders,  dey  shine  jes  lak  de  sun; 
De  Niggers  grudged  her  mo'. 

*  De  whis'lin'  gal,  an'  de  crowin'  hen, 
Never  comes  to  no  good  en'. 
Stop  dat  whis'lin' ;  go  on  an'  sing ! 
'Member  dat  hen  wid  'er  shinin'  wing. 


THE   SNAIL'S   REPLY 

SNAIL!  Snail!     Come  out'n  o'  yo'  shell, 

Or  I'll  beat  on  yo'  back  till  you  rings  lak  a  bell. 

"I  do  ve'y  well,"  sayed  de  snail  in  de  shell, 
"I'll  jes  take  my  chances  in  here  whar  I  dwell." 

*An  old  superstition. 

170 


NEGRO  FOLK  RHYMES 


A   STRANGE   FAMILY 

ONCE  dere's  an  ole  'oman  dat  lived 

in  de  Wes'. 

She  had  two  gals  of  de  very  bes*. 
One  wus  older  dan  de  t'other, 
T'other's  older  dan  her  mother, 
An'  dey're  all  deir  own  gran'mother. 
Can  you  guess? 


GOOD-BY,  RING 

I  HAD  a  liddle  dog,  his  name  wus  Ring, 
I  tied  him  up  to  his  nose  wid  a  string. 
I  pulled  dat  string,  an'  his  eyes  tu'n  blue. 
"Good-by,  Ring!    I'se  done  wid  you." 


DEEDLE,  DUMPLING 

DEEDLE,  deedle,  dumplin'!    My  boy,  Pete! 
He  went  to  bed  wid  his  dirty  feet. 
Mammy  laid  a  switch  down  on  dat  sheet! 
Deedle,  deedle,  dumplin'!  My  boy,  Pete! 
171 


NEGRO  FOLK  RHYMES 


BUCK  AND  BERRY 

BUCK  an'  Berry  run  a  race, 
Buck  fall  down  an1  skin  his  face. 

Buck  an'  Berry  in  a  stall ; 
Buck,  he  try  to  eat  it  all. 

Buck,  he  e't  too  much,  you  see. 
So  he  died  wid  choleree. 


PRETTY  LITTLE  GIRL 

WHO'S  been  here  since  I'se  been  gone? 
A  pretty  liddle  gal  wid  a  blue  dress  on. 

Who'll  stay  here  when  I  goes  'way? 
A  pretty  liddle  gal,  all  dressed  in  gray. 

Who'll  wait  on  Mistess  day  an'  night? 
A  pretty  liddle  gal,  all  dressed  in  white. 

Who'll  be  here  when  I'se  been  dead? 
A  pretty  liddle  gal,  all  dressed  in  red. 

172 


NEGRO  FOLK  RHYMES 


TWO  SICK  NEGRO  BOYS 

Two  liddle  Niggers  sick  in  bed, 
One  jumped  up  an'  bumped  his  head. 
Wen  de  Doctah  come  he  simpully  said 
"Jes  feed  dat  boy  on  shorten'  bread." 

T'other   liddle   Nigger   sick   in   bed, 
Wen  he  hear  tell  o'  shorten'  bread, 
Popped  up  all  well.     He  dance  an' 

sing! 
He  almos'  cut  dat  Pigeon's  Wing! 


GRASSHOPPER   SITTING  ON  A  SWEET 
POTATO  VINE 

GRASSHOPPER  a  settin'  on  a  sweet  tater  vine, 
'Long  come  a  Blackbird  an'  nab  him  up  behind. 

Blackbird  a-settin'  in  a  sour  apple  tree; 
Hawk   grab   him   up   behind;   he    "Chee!     Chee! 
Chee!" 

Big  hawk  a-settin'  in  de  top  of  dat  oak, 
Start  to  eat  dat  Blackbird  an'  he  git  choke. 
173 


NEGRO  FOLK  RHYMES 


DOODLE-BUG 

DOODLE-BUG!    Doodle-bug!    Come  git  sweet  milk. 
Doodle-bug!    Doodle-bug!    Come  git  butter. 
Doodle  bug!    Doodle-bug!    Come  git  co'n  bread. 
Doodle-bug!    Doodle-bug!    Come  on  to  Supper. 


RAW  HEAD  AND  BLOODY  BONES 

DON'T  talk!    Go  to  sleep! 
Eyes  shet  an'  don't  you  peep ! 
Keep  still,  or  he  jes  moans: 
"Raw  Head  an'  Bloody  Bones!" 


MYSTERIOUS  FACE  WASHING 

I  WASH  my  face  in  de  watah 
Dat's  neider  rain  nor  run. 
I  wipes  my  face  on  de  towel 
Dat's  neider  wove  nor  spun. — 
I  wash  my  face  in  de  dew, 
An'  I  dries  it  in  de  sun. 

*  Repeated  to  restless  children  at  night  to  make  them 
lie  still  and  go  to  sleep. 

174 


NEGRO  FOLK  RHYMES 


GO  TO  BED 

DE  wood's  in  de  kitchen. 
De  boss's  in  de  shed. 
You  liddle  Niggers 
Had  better  go  to  bed. 


*  BUCK-EYED  RABBIT!    WHOOPEE! 

DAT  Squir'l,  he's  a  cunnin'  thing; 
He  tote  a  bushy  tail. 
He  jes  lug  off  Uncle  Sambo's  co'n, 
An*  heart  it  on  a  rail. 

Dat  Squir'l,  he's  a  cunnin'  thing; 
An'  so  is  ole  Jedge  B'ar. 
Br'er  Rabbit's  gone  an'  los'  his  tail 
'Cep'  a  liddle  bunch  of  ha'r. 

Buckeyed  Rabbit !    Whoopee ! 
Buckeyed  Rabbit!    Ho! 
Buckeyed  Rabbit!    Whoopee! 
Squir'l's  got  a  long  way  to  go. 

*The  explanation  of  this  rhyme  is  found  in  the  Study 
in  Negro  Folk  Rhymes. 

175 


NEGRO  FOLK  RHYMES 


CAPTAIN   COON 

CAPTAIN  COON'S  a  mighty  man, 
He  trabble  atter  dark; 
Wid  nothin'  'tall  to  'sturb  his  mind, 
But  to  hear  my  ole  dog  bark. 

Dat  'Possum,  he's  a  mighty  man, 
He  trabble  late  at  night. 
He  never  think  to  climb  a  tree, 
'Till  he's  feared  ole  Rober'll  bite. 


GUINEA  GALL 

WAY  down  yon'er  in  Guinea  Gall, 
De  Niggers  eats  de  fat  an'  all. 
'Way  down  yon'er  in  de  cotton  fiel', 
Ev'ry  week  one  peck  o'  meal. 
'Way  down  yon'er  ole  Mosser  swar'  ; 
Holler  at  you,  an'  pitch,  an'  r'ar; 

Wid  cat  o'  nine  tails, 

Wid  pen  o'  nine  nails, 

Tee  whing,  tee  bing, 

An'  ev'ry  thing! 

176 


NEGRO  FOLK  RHYMES 


FISHING  SIMON 

SIMON  tuck  his  hook  an'  pole, 
An'  fished  on  Sunday  we's  been 

told. 

Fish  dem  water  death  bells  ring, 
Talk  from  out'n  de  water,  sing — 
"Bait  yo'  hook,  Simon! 
Drap  yo'  line,  Simon! 
Now  ketch  me,  Simon! 
Pull  me  out,  Simon! 
Take  me  home,  Simon! 
Now  clean  me,  Simon! 
Cut  me  up  now,  Simon! 
Now  salt  me,  Simon! 
Now  fry  me,  Simon! 
Dish  me  up  now,  Simon! 
Eat  me  all,  Simon!" 
Simon  e't  till  he  wus  full. 
Still  dat  fish  keep  his  plate  fall. 
Simon  want  no  mo'  at  all, 
Fish  say  dat  he  mus'  eat  all. 
Simon's  sick,  so  he  throw  up! 
He  give  Sunday  fishin'  up. 

177 


NEGRO  FOLK  RHYMES 


A  STRANGE  OLD  WOMAN 

DERE  wus  an  ole  'oman,  her  name  wus  Nan. 
She  lived  an  'oman,  an'  died  a  man. 
De  ole  'oman  lived  to  be  dried  up  an'  cunnin'; 
One  leg  stood  still,  while  de  tother  kep'  runnin'. 


IN   '76 

WAY  down  yonder  in  sebenty-six, 
Whar  I  git  my  jawbone  fix; 
All  dem  coon-loons  eatin'  wid  a  spoon ! 
I'll  be  ready  fer  dat  Great  Day  soon. 


REDHEAD  WOODPECKER 

REDHEAD  woodpecker:  "Chip!  Chip!  Chee!" 

Promise  dat  he'll  marry  me. 

Whar  shall  de  weddin'  supper  be? 

Down  in  de  lot,  in  a  rotten  holler  tree. 

What  will  de  weddin'  supper  be  ? 

A  liddle  green  worm  an'  a  bumblebee, 

'Way  down  yonder  on  de  holler  tree. 

De  Redhead  woodpecker,  "Chip!  Chip!  Chee!" 


NEGRO  FOLK  RHYMES 

OLD  AUNT  KATE 

JES  look  at  Ole  Aunt  Kate  at  de  gyardin  gate ! 

She's  a  good  ole  'oman. 

Wen  she  sift  'er  meal,  she  give  me  de  husk ; 

Wen  she  cook  'er  bread,  she  give  me  de  crust. 

She  put  de  hosses  in  de  stable; 

But  one  jump  out,  an'  skin  his  nable. 
Jes  look  at  Ole  Aunt  Kate  at  de  gyardin  gate! 

Still  she's  always  late. 

Hurrah  fer  Ole  Aunt  Kate  by  de  gyardin  gate ! 

She's  a  fine  ole  'oman. 

Git  down  dat  sifter,  take  down  dat  tray! 

Go  'long,  Honey,  dere  hain't  no  udder  way! 

She  put  on  dat  hoe  cake,  she  went  'round  de 
house. 

She  cook  dat  'Possum,  an'  she  call  'im  a  mouse ! 
Hurrah  fer  Ole  Aunt  Kate  by  de  gyardin  gate! 

She's  a  fine  playmate. 

CHILDREN'S  SEATING  RHYME 

You  set  outside,  an'  ketch  de  cow-hide. 
I'll  set  in  de  middle,  an'  play  de  gol'  fiddle. 
You  set  'round  about,  an'  git  scrouged  out. 
179 


NEGRO  FOLK  RHYMES 


MY  BABY 

FSE  de  daddy  of  dis  liddle  black  baby. 
He's  his  mammy's  onliest  sweetest  liddle  Coon. 
Got  de  look  on  de  forehead  lak  his  daddy, 
Pretty  eyes  jes  as  big  as  de  moon. 

I'se  de  daddy  of  dis  liddle  black  baby. 
Yes,  his  mammy  keep  de  "Sugar"  rollin'  over. 
She  feed  him  wid  a  tin  cup  an'  a  spoon ; 
An'  he  kick  lak  a  pony  eatin'  clover. 


A  RACE-STARTER'S  RHYME 

ONE  fer  de  money! 
Two  fer  de  show! 
Three  to  git  ready, 
An'  four  fer  to  go! 


NESTING 

DE  jaybird  build  on  a  swingin'  lim', 
De  sparrow  in  de  gyardin; 
Dat  ole  gray  goose  in  de  panel  o'  de  fence, 
An'  de  gander  on  de  t'other  side  o'  Jordan. 
1 80 


NEGRO  FOLK  RHYMES 


BABY  WANTS  CHERRIES 

DE  cherries,  dey're  red;  de  cherries,  dey're ripe; 
An'  de  baby  it  want  one. 
De  cherries,  dey're  hard;  de  cherries,  dey're  sour; 
An'  de  baby  cain't  git  none. 

Jes  look  at  dat  bird  in  de  cherry  tree ! 
He's  pickin'  'em  one  by  one ! 
He's  shakin'  his  bill,  he's  gittin'  it  fill', 
An'  down  dat  th'oat  dey  run! 

Nev'  mind!    Bye  an*  bye  dat  bird's  gwineter  fly, 
An'  mammy's  gwineter  make  dat  pie. 
She'll  give  you  a  few,  fer  de  baby  cain't  chew, 
An'  de  Pickaninny  sholy  won't  cry. 


A  PRETTY  PAIR  OF  CHICKENS 

DAT  box-legged  rooster,  an'  dat  bow-legged  hen 
Make  a  mighty  pretty  couple,  not  to  be  no  kin. 
Dey's  jes  lak  some  Niggers  wearin'  white  folks  ole 

britches, 
Dey  thinks  dey's  lookin'  fine,  w'en  dey  needs  lots  of 

stitches. 

1*1 


NEGRO  FOLK  RHYMES 


TOO  MUCH  WATERMELON 

DERE  wus  a  great  big  watermillion  growin'  on  de 

vine. 

Dere  wus  a  liddle  ugly  Nigger  watchin'  all  de  time. 
An*  w'en  dat  great  big  watermillion  lay  ripenin'  in 

de  sun, 
An*  de  stripes  along  its  purty  skin  wus  comin'  one 

by  one, 

Dat  ugly  Nigger  pulled  it  off  an'  toted  it  away, 
An'  he  e't  dat  great  big  watermillion  all  in  one 

single  day. 
He  e't  de  rinds,  an*  red  meat  too,  he  finish  it  all 

trim; 
An'  den, — dat  great  big  watermillion  up  an'  finish 

him. 


BUTTERFLY 

PRETTY  liddle  butterfly,  yaller  as  de  gold, 
My  sweet  liddle  butterfly,  you  sho'  is  mighty  bold. 
You  can  dance  out  in  de  sun,  you  can  fly  up  high, 
But  you  know  I'se  bound  to  git  you,  yet,  my  liddle 
butterfly. 

182 


NEGRO  FOLK  RHYMES 


THE  HATED  BLACKBIRD  AND  CROW 

DAT  Blackbird  say  unto  de  Crow: 
"Dat's  why  de  white  folks  hates  us  so; 
For  ever  since  ole  Adam  wus  born, 
It's  been  our  rule  to  gedder  green  corn." 

Dat  Blackbird  say  unto  de  Crow : 
"If  you's  not  black,  den  I  don't  know. 
White  folks  calls  you  black,  but  I  say  not; 
Caze  de  kittle  musn'  talk  about  de  pot." 

IN  A  RUSH 

HERE  I  comes  jes  a-rearin'  an'  a-pitchin', 

I  hain't  had  no  kiss  since  I  lef  de  ole  kitchin. 

Candy,  dat's  sweet ;  dat's  very,  very  clear ; 

But  a  kiss  from  yo'  lips  would  be  sweeter,  my  dear. 

TAKING  A  WALK 

WE'S  a-walkin'  in  de  green  grass  dust,  dust,  dust. 
We's  a-walkin'  in  de  green  grass  dust. 
If  you's  jes  as  sweet  as  I  thinks  you  to  be, 
I'll  take  you  by  yo'  liddle  hand  to  walk  wid  me. 

183 


NEGRO  FOLK  RHYMES 


PAYING  DEBTS  WITH  KICKS 

I  OWES  yo'  daddy  a  peck  o'  peas. 
I'se  gwineter  pay  it  wid  my  knees. 
I  owes  yo'  mammy  a  pound  o'  meat ; 
An'  I'se  gwineter  pay  dat  wid  my  feet. 
Now,  if  I  owes  'em  somethin'  mo* ; 
You  come  right  back  an'  let  me  know. 
Please  say  to  dem  ('fore  I  fergets) 
I  never  fails  to  pay  my  debts. 


GETTING  TEN  NEGRO  BOYS 
TOGETHER 

ONE  liddle  Nigger  boy  whistle  an'  stew, 
He  whistle  up  anudder  Nigger  an'  dat  make  two. 
Two  liddle  Nigger  boys  shuck  de  apple  tree, 
Down  fall  anudder  Nigger,  an'  dat  make  three. 
Three  liddle  Nigger  boys,  a-wantin'  one  more, 
Never  has  no  trouble  a-gittin'  up  four. 
Four  liddle  Nigger  boys,  dey  cain't  drive. 
Dey  hire  a  Nigger  hack  boy,  an'  dat  make  five. 
Five  liddle  Niggers,  bein'  calcullated  men, 
Call  anudder  Nigger  'piece  an'  dat  make  ten. 
184 


NEGRO  FOLK  RHYMES 

HAWK  AND  CHICKENS 

HEN  an*  chickens  in  a  fodder  stack, 
Mighty  busy  scratchin'. 
Hawk  settin'  off  on  a  swingin'  lim', 
Ready  fer  de  catchin'. 

Hawk  come  a-whizzin'  wid  his  bitin'  mouf, 
Couldn'  hold  hisself  in. 
Hen,  flyin'  up,  knock  his  eye  clean  out; 
An'  de  Jaybird  died  a-laughin'. 


MUD-LOG  POND 

As  I  stepped  down  by  de  Mud-log  pon', 
I  seed  dat  bullfrog  wid  his  shoe-boots  on. 
His  eyes  wus  glass,  an'  his  heels  wus  brass; 
An'  I  give  him  a  dollar  fer  to  let  me  pass. 

WHAT  WILL  WE  DO  FOR  BACON? 

WHAT  will  we  do  fer  bacon  now? 
I'se  shot,  Fse  shot  de  ole  sandy  sow! 
She  jumped  de  fence  an'  broke  de  rail; 
An'— "Bam!"— I  shot  her  on  de  tail. 
185 


NEGRO  FOLK  RHYMES 


A  LITTLE  PICKANINNY 

ME  an*  its  mammy  is  both  gwine  to  town, 

To  git  dis  Pickaninny  a  liddle  hat  an'  gown. 

Don't  you  never  let  him  waller  on  de  flo' ! 

He's  a  liddle  Pickaninny, 

Born  in  ole  Virginy. 

Mammy!    Don't  de  baby  grow? 

Setch  a  eatin'  o'  de  honey  an'  a  drinkin'  o'  de  wine ! 
We's  gwine  down  togedder  f er  to  have  a  good  time ; 
An'  we's  gwineter  eat,  an'  drink  mo'  an'  mo'. 
Oh,  sweet  liddle  *  Pickaninny, 
Born  in  ole  Virginy. 
Mammy!    How  de  baby  grow! 

t  DON'T  SING  BEFORE  BREAKFAST 

DON'T  sing  out  'fore  Breakfast, 
Don't  sing  'fore  you  eat, 
Or  you'll  cry  out  'fore  midnight, 
You'll  cry  'fore  you  sleep. 

*Pickanniny   appears  to  have  been   an  African  word 
used  by  the  early  American  slaves  for  the  word  baby. 
fA  superstition. 

1 86 


NEGRO  FOLK  RHYMES 


MY  FOLKS  AND  YOUR  FOLKS 

IF  you  an'  yo'  folks 
Likes  me  an'  my  folks, 
Lak  me  an'  my  folks, 
Likes  you  an'  yo'  folks; 
You's  never  seed  folks, 
Since  folks  'as  been  folks, 
Like  you  an'  yo'  folks, 
Lak  me  an'  my  folks. 


LITTLE  SLEEPING  NEGROES 

ONE  liddle  Nigger  a-lyin'  in  de  bed ; 
His  eyes  shet  an'  still,  lak  he  been  dead. 

Two  liddle  Niggers  a-lyin'  in  de  bed ; 
A-snorin'  an'  a-dreamin'  of  a  table  spread. 

Three  liddle  Niggers  a-lyin'  in  de  bed; 
Deir  heels  cracked  open  lak  shorten'  bread. 

Four  liddle  Niggers  a-lyin'  in  de  bed ; 
Dey'd  better  hop  out,  if  dey  wants  to  git  fed  1 
187 


NEGRO  FOLK  RHYMES 


MAMMA'S  DARLING 

Wro  flowers  on  my  shoulders, 
An'  wid  slippers  on  my  feet; 
I'se  my  mammy's  darlin*. 
Don't  you  think  I'se  sweet? 

I  wish  I  had  a  fourpence, 
Den  I  mought  use  a  dime. 
I  wish  I  had  a  Sweetheart, 
To  kiss  me  all  de  time. 

I  has  apples  on  de  table, 
An'  I  has  peaches  on  de  shelf ; 
But  I  wish  I  had  a  husband — 
I'se  so  tired  stayin'  to  myself. 


STEALING  A  RIDE 

Two  liddle  Nigger  boys  as  black  as  tar, 
Tryin'  to  go  to  Heaben  on  a  railroad  chyar. 
Off  fall  Nigger  boys  on  a  cross-tie ! 
Dey's  gwineter  git  to  Heaben  shore  bye-an'-bye. 

188 


NEGRO  FOLK  RHYMES 


WASHING  MAMMA'S  DISHES 

WHEN  I  wus  a  liddle  boy 
A-washin'  my  mammy's  dishes, 
I  rund  my  finger  down  my  th'oat 
An'  pulled  out  two  big  fishes! 

When  I  wus  a  liddle  boy 
A-wipin'  my  mammy's  dishes, 
I  sticked  my  finger  in  my  eye 
An'  I  sho'  seed  liddle  fishes. 

De  big  fish  swallowed  dem  all  up ! 
It  put  me  jes  a-thinkin*. 
All  dem  things  looks  awful  cu'ous! 
I  wonder  wus  I  drinkin'  ? 


WILLIE   WEE 

WILLIE,  Willie,  Willie  Wee! 
One,  two,  three. 
If  you  wanna  kiss  a  pretty  gal, 
Come  kiss  me. 

189 


NEGRO  FOLK  RHYMES 

ONE  NEGRO  THEME  SUNG  WITH  "FROG  WENT 
A-COURTING" 


De    frog  went   a   cour  -  tin*     he     did    ride,    Uh  - 


huh!      Uh-huh       De    frog    went    a    court  •  in* 


he      did     ride    Wid   a    sword   an      a     pis  -  tol 


by      'is       side       Uh  -  huh!        Uh  -  huh! 

FROG  WENT  A-COURTING 

DE  frog  went  a-co'tin',  he  did  ride.  Uh-huh!  Uh- 
huh! 

De  frog  went  a-co'tin',  he  did  ride 

Wid  a  sword  an'  a  pistol  by  'is  side.  Uh-huh! 
Uh-huh! 

He  rid  up  to  Miss  Mousie's  do'.    Uh-huh!  Uh-huh! 

He  rid  up  to  Miss  Mousie's  do', 

Whar  he'd  of  en  been  befo.    Uh-huh!  Uh-huh! 

TQO 


NEGRO  FOLK  RHYMES 

Says  he:  "Miss  Mousie,  is  you  in?"  Uh-huh! 
Uh-huh! 

Says  he:  "Miss  Mousie,  is  you  in?" 

"Oh  yes,  Sugar  Lump!  I  kyard  an'  spin."  Uh- 
huh!  Uh-huh! 

He  tuck  dat  Mousie  on  his  knee.    Uh-huh !  Uh-huh ! 
He  tuck  dat  Mousie  on  his  knee, 
An'  he  say:    "Dear  Honey,  marry  me!"    Uh-huh! 
Uh-huh! 

"Oh  Suh!"  she  say,  "I  cain't  do  dat."     Uh-huh! 

Uh-huh! 

"Oh  Suh!"  she  say,  "I  cain't  do  dat, 
Widout  de  sayso  o'  uncle  Rat."    Uh-huh!  Uh-huh! 

Dat  ole  gray  Rat,  he  soon  come  home.     Uh-huh! 

Uh-huh! 

Dat  ole  gray  Rat,  he  soon  come  home, 
Sayin':  "Whose  been  here  since  Fse  been  gone?" 

Uh-huh!  Uh-huh! 

"A   fine   young  gemmun   fer   to   see."     Uh-huh! 

Uh-huh! 

"A  fine  young  gemmun  fer  to  see, 
An'  one  dat  axed   fer  to  marry  me."     Uh-huh! 

Uh-huh! 

191 


NEGRO  FOLK  RHYMES 

Dat  Rat  jes  laugh   to  split  his  side.     Uh-huh! 

Uh-huh! 

Dat  Rat  jes  laugh  to  split  his  side. 
"Jes  think  o'  Mousie's  bein'  a  bride!"     Uh-huh! 

Uh-huh! 


Nex'  day,  dat  rat  went  down  to  town.     Uh-huh! 

Uh-huh! 

Nex'  day  dat  rat  went  down  to  town, 
To  git  up  de  Mousie's  Weddin'  gown.     Uh-huh! 

Uh-huh! 


"What's  de  bes'   thing  fer   de  Weddin'   gown?" 

Uh-huh!  Uh-huh! 

"What's  de  bes'  thing  fer  de  Weddin'  gown?"— 
"Dat  acorn  hull,  all  gray  an'  brown!"     Uh-huh! 

Uh-huh! 


"Whar  shall  de  Weddin'  Infar'  be?"     Uh-huh! 

Uh-huh! 

"Whar  shall  de  Weddin'  Infar'  be?"— 
"Down  in  de  swamp  in  a  holler  tree."     Uh-huh! 

Uh-huh! 

192 


NEGRO  FOLK  RHYMES 

"What  shall  de  Weddin'   Infar'   be?"     Uh-huh! 

Uh-huh! 

"What  shall  de  Weddin'  Infar'  be?"— 
"Two  brown  beans  an'  a  blackeyed  pea."    Uh-huh ! 

Uh-huh! 


Fust  to  come  in  wus  de  Bumblebee.     Uh-huh! 

Uh-huh! 

Fust  to  come  in  wus  de  Bumblebee. 
Wid  a  fiddle  an'  bow  across  his  knee.     Uh-huh! 

Uh-huh! 


De  nex'  dat  come  wus  Khyernel  Wren.    Uh-huh! 

Uh-huh! 

De  nex'  dat  come  wus  Khyernel  Wren, 
An'  he  dance  a  reel  wid  de  Turkey  Hen.    Uh-huh ! 

Uh-huh! 


De  nex'  dat  come  wus  Mistah  Snake.    Uh-huh! 

Uh-huh! 

De  nex'  dat  come  wus  Mistah  Snake, 
He  swallowed  de  whole  weddin'  cake!     Uh-huh! 

Uh-huh! 

193 


NEGRO  FOLK  RHYMES 

De  nex'  come  in  wus  Cap'n  Flea.     Uh-huh!  Uh- 

huh! 

De  nex'  come  in  wus  Cap'n  Flea, 
An'  he  dance  a  jig  fer  de  Bumblebee.     Uh-huh! 

Uh-huh! 

An*   now   come   in  ole   Giner'l   Louse.     Uh-huh! 

Uh-huh! 

An*  now  come  in  ole  Giner'l  Louse. 
He  dance  a  breakdown  'round  de  house.    Uh-huh! 

Uh-huh! 

De  nex'  to  come  wus  Major  Tick.  Uh-huh!  Uh- 
huh! 

De  nex'  to  come  wus  Major  Tick, 

An'  he  e't  so  much  it  make  'im  sick.  Uh-huh! 
Uh-huh! 

Dey  sent  fer  Mistah  Doctah  Fly.  Uh-huh !  Uh-huh ! 
Dey  sent  fer  Mistah  Doctah  Fly. 
Says  he :  "Major  Tick,  you's  boun'  to  die."  Uh-huh ! 
Uh-huh! 

Oh,  den  crep'  in  ole  Mistah  Cat.    Uh-huh !  Uh-huh ! 
Oh,  den  crep'  in  ole  Mistah  Cat, 
An1  chilluns,  dey  all  hollered,  "Scat!!"   Uh-huh!!! 
Uh-huh!!! 

194 


NEGRO  FOLK  RHYMES 

It  give  dat  frog  a  turble  fright.    Uh-huh !  Uh-huh ! 
It  give  dat  frog  a  turble  fright, 
An'  he  up  an'  say  to  dem,  "Good-night !"    Uh-huh ! 
Uh-huh! 

Dat  frog,  he  swum  de  lake  aroun*.  Uh-huh! 
Uh-huh! 

Dat  frog,  he  swum  de  lake  aroun', 

An*  a  big  black  duck  come  gobble  'im  down.  Uh- 
huh!  Uh-huh! 

"What  d'you  say  'us  Miss  Mousie's  lot?"    Uh-huh! 

Uh-huh! 

"What  d'you  say  'us  Miss  Mousie's  lot?" — 
"W'y — ,  she  got  swallered  on  de  spot!"    Uh-huh! 

Uh-huh! 

Now,   I   don't  know  no  mo'   'an   dat.     Uh-huh! 

Uh-huh! 

Now,  I  don't  know  no  mo'  'an  dat. 
If  you  gits  mo'  you  can  take  my  hat.     Uh-huh! 

Uh-huh! 

An*  if  you  thinks  dat  hat  won't  do.  Uh-huh! 
Uh-huh! 

An'  if  you  thinks  dat  hat  won't  do, 

Den  you  mought  take  my  head   'long,   too.    Uh- 
huh!!!    Uh-huh!!! 
195 


NEGRO  FOLK  RHYMES 

SHOO!   SHOO! 

SHOO!  Shoo! 

What'll  I  do? 

Run  three  mile  an'  buckle  my  shoe  ? 

No!  No! 

I'se  gwineter  go, 

An*  kill  dat  chicken  on  my  flo*. 

Oh!  My! 

Chicken  pie! 

Sen'  fer  de  Doctah,  I  mought  die. 

Christmus  here, 

Once  a  year. 

Pass  dat  cider  an'  'simmon  beer. 


FLAP-JACKS 

I  LOVES  my  wife,  an'  I  loves  my  baby: 
An'  I  loves  dem  flap-jacks  a-floatin'  in  gravy. 
You  play  dem  chyards,  an'  make  two  passes : 
While  I  eats  dem  flap-jacks  a-floatin'  in  'lasses. 

196 


NEGRO  FOLK  RHYMES 

Now :  in  come  a  Nigger  an'  in  come  a  bear, 
In  come  a  Nigger  dat  hain't  got  no  hair. 
Good-by,  Nigger,  go  right  on  back, 
Fer  I  hain't  gwineter  give  you  no  flap-jack. 


TEACHING  TABLE  MANNERS 

Now  whilst  we's  here  'round  de  table, 
All  you  young  ones  git  right  still. 
I  wants  to  1'arn  you  some  good  manners, 
So's  you'll  think  o'  Uncle  Bill. 

Cose  we's  gwineter  'scuse  Merlindy, 
Caze  she's  jes  a  baby  yit. 
But  it's  time  you  udder  young  ones 
Wus  a-1'arnin'  a  liddle  bit. 

I  can  'member  as  a  youngster, 
Lak  you  youngsters  is  to-day; 
How  my  mammy  1'arnt  me  manners 
In  a  'culiar  kind  o'  way. 

One  o'  mammy's  ole  time  'quaintance. 
(Ole  Aunt  Donie  wus  her  name) 
Come  one  night  to  see  my  mammy. 
Mammy  co'se  'pared  fer  de  same. 
197 


NEGRO  FOLK  RHYMES 

Mammy  got  de  sifter,  Honey; 
An'  she  tuck  an'  make  up  dough, 
Which  she  tu'n  into  hot  biscuits. 
Den  we  all  git  smart,  you  know. 

'Zerves  an'  biscuits  on  de  table! 
Honey,  noways  could  I  wait. 
Ole  Aunt  Donie  wus  a  good  ole  'oman, 
An'  I  jes  had  to  pass  my  plate. 


I  soon  swallered  down  dem  biscuit, 
E't  'em  faster  dan  a  shoat. 
Dey  wus  a  liddle  tough  an'  knotty, 
But  I  chawed  'em  lak  a  goat. 

"Pass  de  biscuits,  please,  Mam ! 
Please,  Mam,  fer  I  wants  some  mo'." 
Lawd !    You'd  oughter  seed  my  mammy 
Frownin'  up,  jes  "sorter  so." 

"Won't  you  pass  de  biscuit,  please,  Mam  ?" 
I  said  wid  a  liddle  fear. 
Dere  wus  not  but  one  mo'  lef,  Sir. 
Mammy  riz  up  out'n  her  chear. 
198 


NEGRO  FOLK  RHYMES 

Wen  Aunt  Donie  lef  our  house,  Suh, 
Mammy  come  lak  bees  an'  ants, 
Put  my  head  down  'twixt  her  knees,  Suh, 
Almos'  roll  me  out'n  my  pants. 

She  had  a  great  big  tough  hick'ry, 
An*  it  help  till  it  convince. 
Frum  dat  day  clean  down  to  dis  one, 
Fse  had  manners  ev'r  since. 


MISS  BLODGER 

DE  rats  an'  de  mice,  dey  rund  up  stairs, 
Fer  to  hear  Miss  Blodger  say  her  prayers. 
Now  here  I  Stan's  'fore  Miss  Blodger. 
She  'spects  to  hit  me,  but  I'se  gwineter  dodge  her. 


THE  LITTLE  NEGRO  FLY 

DERE'S  a  liddle  Nigger  fly 
Got  a  pretty  liddle  eye  ; 
But  he  don't  know  'is  A,  B,  C's. 
He  up  an'  crawl  de  book, 
An'  he  eben  'pears  to  look ; 
But  he  don't  know  'is  A,  B,  C's. 
199 


NEGRO  FOLK  RHYMES 

DESTINIES  OF  GOOD  AND  BAD 
CHILDREN 

ONE,  two,  three,  fo',  five,  six,  seben; 
All  de  good  chilluns  goes  to  Heaben. 
All  de  bad  chilluns  goes  below, 
To  *  segashuate  wid  ole  man  t  Joe. 

One,  two,  three,  fo',  five,  six,  seben,  eight; 
All  de  good  chilluns  goes  in  de  Pearly  Gate. 
But  all  de  bad  chilluns  goes  the  Broad  Road  below, 
To  segashuate  wid  ole  man  Joe. 

BLACK-EYED  PEAS  FOR  LUCK 

ONE  time  I  went  a-huntin', 
I  heared  dat  'possum  sneeze. 
I  hollered  back  to  Susan  Ann: 
"Put  on  a  pot  o'  peas." 

Dat  good  ole  'lasses  candy, 
What  makes  de  eyeballs  shine, 
Wid  'possum  peas  an'  taters, 
Is  my  dish  all  de  time. 

*  Segashuate  means  associate  with. 
fRead  first  stanza  of  "Sheep  Shell  Corn,"  to  know  of 
ole  man  Joe. 

200 


NEGRO  FOLK  RHYMES 

*  Dem  black-eyed  peas  is  lucky ; 
When  e't  on  New  Year's  day, 
You  always  has  sweet  taters, 
An'  'possum  come  your  way. 


t  PERIWINKLE 

PENNYWINKLE,  pennywinkle,  poke  out  yo'  ho'n ; 
An'  I'll  give  you  five  dollahs  an'  a  bar'l  o'  co'n. 
Pennywinkle!  Pennywinkle!  Dat  gal  love  me? 
Jes  stick  out  yo'  ho'n  all  pinted  to  a  tree. 


TRAINING  THE  BOY 

WEN  I  wus  a  liddle  boy, 
Jes  thirteen  inches  high, 
I  useter  climb  de  table  legs, 
An'  steal  off  cake  an'  pie. 

Altho'  I  wus  a  liddle  boy, 

An'  tho'  I  vvusn't  high, 

My  mammy  took  dat  keen  switch  down, 

An'  whupped  me  till  I  cry. 

*  This  last  stanza  embodies  one  of  the  old  superstitions. 
t  The  Periwinkle  seems  to  have  been  used  as  an  oracle 
by  some  Negroes  in  the  days  of  their  enslavement. 

2OI 


NEGRO  FOLK  RHYMES 

Now  I  is  a  great  big  boy, 
An*  Mammy,  she  cain't  do  it; 
My  daddy  gits  a  great  big  stick, 
An'  pulls  me  right  down  to  it. 

Dey  say :  "No  breakin'  dishes  now ; 
No  stealin'  an*  no  lies." 
An'  since  I  is  a  great  big  boy, 
Dey  'spects  me  to  act  wise. 


*BAT!  BAT! 

BAT  !  Bat !    Come  un'er  my  hat, 
An'  I'll  give  you  a  slish  o'  bacon. 
But  don't  bring  none  yo'  ole  bedbugs, 
If  you  don't  want  to  git  fersaken. 


RANDSOME  TANTSOME 

RANDSOME  Tantsome! — Gwine  to  de  Fair? 
Randsome  Tantsome ! — Wat  you  gwineter  wear  ? 
"Dem  shoes  an'  stockin's  Fse  bound  to  wear!" 
Randsome  Tantsome  a-gwine  to  de  Fair. 

*A  superstition  that  it  is  good  luck  to  catch  a  bat  in 
one's  hat  if  he  doesn't  get  bedbugs  by  so  doing. 

202 


NEGRO  FOLK  RHYMES 

ARE  YOU  CAREFUL? 

Is  you  keerf ul ;  w'en  you  goes  down  de  street, 
To  see  dat  yo'  cloze  looks  nice  an'  neat? 
Does  you  watch  yo'  liddle  step  'long  de  way, 
An'  think  'bout  dem  words  dat  you  say? 


RABBIT   HASH 

DERE  wus  a  big  ole  rabbit 
Dat  had  a  mighty  habit 
A-settin'  in  my  gyardin, 
An'  eatin'  all  my  cabbitch. 
I  hit  'im  wid  a  mallet, 
I  tapped  'im  wid  a  maul. 
Sich  anudder  rabbit  hash, 
You's  never  tasted  'tall. 


WHY  THE  WOODPECKER'S  HEAD  IS 
RED 

BILL  DILLIX  say  to  dat  woodpecker  bird: 
"W'at  makes  yo'  topknot  red?" 
Says  he:  "I'se  picked  in  de  red-hot  sun, 
Till  it's  done  burnt  my  head." 
203 


NEGRO  FOLK  RHYMES 

BLESSINGS 

THE  chivalry  of  the  Old  South  rather  demanded 
that  all  friends  should  be  invited  to  partake  of  the 
meal,  if  they  chanced  to  come  calling  about  the 
time  of  the  meal  hour.  This  ideal  also  pervaded  the 
lowly  slave  Negro's  cabin.  In  order  that  this  hos- 
pitality might  not  be  abused,  the  Negroes  had  a 
little  deterrent  story  which  they  told  their  children. 
Below  are  the  fancied  Blessings  asked  by  the  ficti- 
tious Negro  family,  in  the  story,  whose  hospitality 
had  been  abused. 

BLESSING  WITH  COMPANY  PRESENT 

OH  Lawd  now  bless  an'  bin'  us, 
An'  put  ole  Satan  'hin'  us. 
Oh  let  yo'  Sperit  min'  us. 
Don't  let  none  hongry  fin'  us. 

BLESSING  WITHOUT  COMPANY 

OH  Lawd  have  mussy  now  upon  us, 
An'  keep  'way  some  our  neighbors  from  us. 
For  w'en  dey  all  comes  down  upon  us, 
Dey  eats  mos'  all  our  victuals  from  us. 
204 


NEGRO  FOLK  RHYMES 

ANIMAL  PERSECUTORS 

I  WENT  up  on  de  mountain, 
To  git  a  bag  o'  co'n. 
Dat  coon,  he  sicked  'is  dog  on  me, 
Dat  'possum  blowed  'is  ho'n. 

Dat  gobbler  up  an'  laugh  at  me. 
Dat  pattridge  giggled  out. 
Dat  peacock  squall  to  bust  'is  sides, 
To  see  me  runnin'  'bout. 


FOUR   RUNAWAY    NEGROES— WHENCE 
THEY  CAME 

ONCE  fo'  runaway  Niggers, 

Dey  met  in  de  road. 

An'  dey  ax  one  nudder : 

Whar  dey  come  from. 

Den  one  up  an'  say: 

"I'se  jes  come  down  from  Chapel  Hill 

Whar  de  Niggers  hain't  wuked  an*  never  will." 

Den  anudder  up  an'  say: 

"I'se  jes  come  here  from  Guinea  Gall 
Whar  dey  eats  de  cow  up,  skin  an'  all." 
205 


NEGRO  FOLK  RHYMES 

Den  de  nex'  Nigger  say 
Whar  he  done  come  from: 

"Dey  wuked  you  night  an'  day  as  dey  could; 

Dey  never  had  stopped  an*  dey  never  would." 

De  las'  Nigger  say 
Whar  he  come  from : 

•"De  Niggers  all  went  out  to  de  Ball; 

De  thick,  de  thin,  de  short,  de  tall." 

But  dey'd  all  please  set  up, 

Jes  lak  ole  Br'er  Rabbit 

Wen  he  look  fer  a  dog. 

An'  keep  it  in  mind, 

Whilst  dey  boasts  'bout  deir  gals 

An'  dem  t'other  things: 

"Dat  none  deir  gals  wus  lak  Sallie  Jane, 
Fer  dat  gal  wus  sweeter  dan  sugar  cane." 


206 


WISE  SAYING  SECTION 


LEARN  TO  COUNT 

NAUGHT'S  a  naught, 
Five's  a  figger. 
All  fer  de  white  man, 
None  fer  de  Nigger. 

Ten's  a  ten, 
But  it's  mighty  funny; 
When  you  cain't  count  good, 
You  hain't  got  no  money. 


THE  WAR  IS  ON 

DE  boll-weevil's  in  de  cotton, 
De  cut-worm's  in  de  corn, 
De  Devil's  in  de  white  man; 
An'  de  wah's  a-gwine  on. 
Poor  Nigger  hain't  got  no  home ! 
Poor  Nigger  hain't  got  no  home ! 
207 


NEGRO  FOLK  RHYMES 

HOW  TO  PLANT  AND  CULTIVATE 
SEEDS 

PLANT:  One  fer  de  blackbird 

Two  fer  de  crow, 

Three  fer  de  jaybird 
%     An'  fd'  fer  to  grow. 

Den :  When  you  goes  to  wuk, 
Don't  never  stand  still; 
When  you  pull  de  grass, 
Pull  it  out'n  de  hill. 


A  MAN  OF  WORDS 

A  MAN  o'  words  an'  not  o'  deeds, 
Is  lak  a  gyarden  full  o'  weeds. 

De  weeds  'gin  to  grow 

Lak  a  gyarden  full  o'  snow. 

De  snow  'gin  to  fly 

Lak  a  eagle  in  de  sky. 

De  sky  'gin  to  roar 

Lak  a  hammer  on  yo'  door. 

De  door  'gin  to  crack 

Lak  a  hick'ry  on  yo'  back. 
208 


NEGRO  FOLK  RHYMES 

Yd'  back  'gin  to  smart 

Lak  a  knife  in  yo'  heart. 

Yo'  heart  'gin  to  fail 

Lak  a  boat  widout  a  sail. 

De  boat  'gin  to  sink 

Lak  a  bottle  full  o'  ink. 

Dat  ink,  it  won't  write 

Neider  black  nor  white. 
Dat  man  o'  words  an'  not  o'  deeds, 
Is  lak  a  gyarden  full  o'  weeds. 

INDEPENDENT 

FSE  jes  as  innerpenunt  as  a  pig  on  ice. 
Gwineter  git  up  ag'in  if  I  slips  down  twice. 
If  I  cain't  git  up,  I  can  jes  lie  down. 
I  don't  want  no  Niggers  to  be  he'pin'  me  'roun*. 

TEMPERANCE  RHYME 

WHISKY  nor  brandy  hain't  no  friend  to  my  kind. 
Dey  killed  my  po'  daddy,  an'  dey  troubled  my  mind. 
Sometime  he  drunk  whisky,  sometime  he  drunk  ale ; 
Sometime  he  kotch  de  rawhide,   an'  sometime  de 
flail. 

209 


NEGRO  FOLK  RHYMES 

On  yon'er  high  mountain,  I'll  set  up  dar  high; 
An'  de  wild  geese  can  cheer  me  while  passin*  on  by. 
Go  'way,  young  ladies,  an'  let  me  alone; 
For  you  know  I'se  a  poor  boy,  an'  a  long  ways  from 
home. 

Go  put  up  de  hosses  an'  give  'em  some  hay ; 
But  don't  give  me  no  whisky,  so  long  as  I  stay. 
For  whisky  nor  brandy  hain't  friend  to  my  kind ; 
Dey  killed  my  po'  daddy,  an'  dey  troubled  my  mind. 

THAT  HYPOCRITE 

I  TELL  you  how  dat  hypocrite  do, 
He  come  down  to  my  house,  an'  talk  about  you ; 
He  talk  about  me,  an'  he  talk  about  you  ; 
An'  dat's  de  way  dat  hypocrite  do. 

I  tell  you  how  dat  hypocrite  pray. 
He  pray  out  loud  in  de  hypocrite  way. 
He  pray  out  loud,  got  a  heap  to  say; 
An'  dat's  de  way  dat  hypocrite  pray. 

I  tell  you  how  dat  hypocrite  'ten', 
He  'ten'  dat  he  love,  an'  he  don't  love  men. 
He  'ten'  dat  he  love,  an'  he  hate  Br'er  Ben  ; 
An'  dat's  de  way  dat  hypocrite  'ten'. 
2IO 


NEGRO  FOLK  RHYMES 


DRINKING  RAZOR  SOUP 

HE'S  been  drinkin'  razzer  soup; 
Dat  sharp  Nigger,  black  lak  ink. 
If  he  don't  watch  dat  tongue  o'  his, 
Somebody'll  hurt  'im  'for'  he  think. 

He  cain't  drive  de  pigeons  t'  roost, 
Dough  he  talk  so  big  an'  smart. 
Hain't  got  de  sense  to  tole  'em  in. 
Cain't  more  'an  drive  dat  ole  mule  chyart. 


OLD  MAN  KNOW-ALL 

OLE  man  Know-All,  he  come  'round 
Wid  his  nose  in  de  air,  turned  'way  frum  de  ground. 
His  ole  woolly  head  hain't  been  combed  fer  a  week; 
It  say :  "Keep  still,  while  Know-All  speak." 

Ole  man  Know-All's  tongue,  it  run ; 
He  jes  know'd  ev'rything  under  de  sun. 
When  you  knowed  one  thing,  he  knowed  mo*. 
He  'us  sharp  'nough  to  stick  an'  green  'nough  to 
grow. 

211 


NEGRO  FOLK  RHYMES 

Ole  man  Know-All  died  las'  week. 
He  got  drowned  in  de  middle  o'  de  creek. 
De  bridge  wus  dar,  an'  dar  to  stay. 
But  he  knowed  too  much  to  go  dat  way. 


FED  FROM  THE  TREE  OF 
KNOWLEDGE 

I  NEBBER  starts  to  break  my  colt, 

Till  he's  ole  enough  to  trabble. 

I  nebber  digs  my  taters  up 

Wen  dey's  only  right  to  grabble. 

So  w'en  you  sees  me  risin'  up 

To  structify  in  meetin', 

You  can  know  Fse  climbed  de  Knowledge 

Tree 
An'   done   some  apple  eatin'. 


THE  TONGUE 

GOT  a  tongue  dat  jes  run  when  it  walk? 
It  cain't  talk. 

Got  a  tongue  dat  can  hush  when  it  talk? — 
It  cain't  squawk. 

212 


NEGRO  FOLK  RHYMES 

BRAG  AND  BOAST 

BRAG  is  a  big  dog; 
But  Hold  Fast,  he  is  better. 
Dem  big  black  rough  hands, 
Dey  cain't  write  no  letter. 

Boast,  he  barks  an'  growls  loud; 
But  Bulger,  he  hain't  no  shirker. 
Dat  big  loud  mouf  Nigger, 
He  hain't  never  no  worker. 


SELF-CONTROL 

BEFO'  you  says  dat  ugly  word, 
You  stop  an'  count  ten. 
Den  if  you  wants  to  say  dat  word, 
Begin  an'  count  again. 

Don't  have  a  tongue  tied  in  de  middle, 
An'  loose  frum  en'  to  en'. 
You  mus'  think  twice,  den  speak  once ; 
Dat  *  donkey  cain't  count  ten. 

*  The  somewhat  less  dignified  term  was  more  commonly 
used. 

213 


NEGRO  FOLK  RHYMES 

SPEAK  SOFTLY 

"Wus  dat  you  spoke, 
Or  a  fence  rail  broke?" 
Br'er  Rabbit  say  to  de  Jay 
*  Wen  you  don't  speak  sof, 
Yo'  baits  comes  off; 
An'  de  fish  jes  swim  away. 


STILL  WATER  RUNS  DEEP 

DAT  still  water,  it  run  deep. 
Dat  shaller  water  prattle. 
Dat  tongue,  hung  in  a  holler  head, 
Jes  roll  'round  an'  rattle. 


DONT  TELL  ALL  YOU  KNOW 

KEEP  dis  in  min',  an'  all  '11  go  right; 
As  on  yo'  way  you  goes ; 
Be  shore  you  knows  'bout  all  you  tells, 
But  don't  tell  all  you  knows. 

*The  last  three  lines  of  the  rhyme  was  a  superstition 
current  among  antebellum  Negroes. 

2:4 


NEGRO  FOLK  RHYMES 

*  JACK  AND  DINAH  WANT  FREEDOM 

OLE  Aunt  Dinah,  she's  jes  lak  me. 

She  wuk  so  hard  dat  she  want  to  be  free. 

But,  you  know,  Aunt  Dinah's  gittin'  sorter  ole; 

An'  she's  feared  to  go  to  Canada,  caze  it's  so  col'. 

Dar  wus  ole  Uncle  Jack,  he  want  to  git  free. 
He  find  de  way  Norf  by  de  moss  on  de  tree. 
He  cross  dat  t  river  a-floatin'  in  a  tub. 
Dem  $  Patterollers  give  'im  a  mighty  close  rub. 

Dar  is  ole  Uncle  Billy,  he's  a  mighty  good  Nigger. 
He  tote  all  de  news  to  Mosser  a  little  bigger. 
When  you  tells  Uncle  Billy,  you  wants  free  fer  a 

fac'j 
De  nex'  day  de  hide  drap  off'n  yo'  back. 

*  The  writer  wishes  to  give  explanation  as  to  why  the 
rhyme  "Jack  and  Dinah  Want  Freedom"  appears  under 
the  Section  of  Psycho-composite  Rhymes  as  set  forth  in 

"The  Study "  of  our  volume.    The  Negroes  repeating 

this  rhyme  did  not  always  give  the  names  Jack,  Dinah, 
and  Billy,  as  we  here  record  them,  but  at  their  pleasure 
put  in  the  individual  name  of  the  Negro  in  their  sur- 
roundings whom  the  stanza   being  repeated  might  rep- 
resent.   Thus  this  little  rhyme  was  the  scientific  dividing, 
on  the  part  of  the  Negroes  themselves,  of  the  members  of 
their  race  into  three  general  classes  with  respect  to  the 
matter  of  Freedom. 

fThe  Ohio  River. 

$  White   guards  who  caught   and  kept   slaves   at  the 
master's  home. 

215 


FOREIGN  SECTION 
AFRICAN  RHYMES 

The  rhymes  "Tuba  Blay,"  "Near  Waldo  Tee-do 
O  mah  nah  mejai,"  "Sai  Boddeoh  Sumpun  Komo," 
and  "Byanswahn-Byanswahn"  were  kindly  contrib- 
uted by  Mr.  John  H.  Zeigler,  Monrovia,  Liberia, 
and  Mr.  C.  T.  Wardoh  of  the  Bassa  Tribe,  Liberia. 
They  are  natives  and  are  now  in  America  for  col- 
legiate study  and  training. 

NEAR-WALDO-TEE-DO  O  MAH  NAH 
MEJAI 

OR 

NEAR-WALDO-TEE-DO  IS  MY 
SWEETHEART 

1.  A  YEHN  me  doddoc  Near  Waldo  Tee-do. 
Yehn  me  doddoc  o-o  seoh-o-o. 
Omah  nahn  mejai  Near  Waldo  Tee-do. 
Omah  nahn  mejai  Near  Waldo  Tee-do. 
216 


NEGRO  FOLK  RHYMES 

Translation 

Near  Waldo  Tee-do  gave  me  a  suit. 
He  gave  me  a  suit. 

Near  Waldo  Tee-do  is  my  sweetheart. 
Near  Waldo  Tee-do  is  my  sweetheart. 

TUBA  BLAY 

OR 

AN  EVENING  SONG 

1.  SEAH  o,  Tuba  blay. 
Tuba  blay,  Tuba  blay. 

2.  O  blay  wulna  nahn  blay. 
Tuba  blay,  Tuba  blay. 

Translation 

1.  Oh  please  Tuba  sing. 
Tuba  sing,  Tuba  sing. 

2.  Oh  sing  that  song. 
Tuba  sing,  Tuba  sing. 

THE  OWL 

We  are  indebted  for  this  Baluba  rhyme  to  Dr. 
and  Mrs.  William  H.  Sheppard,  pioneer  mission- 
aries under  the  Southern  Presbyterian  Church.    The 
little  production  comes  from  Congo,  Africa. 
217 


NEGRO  FOLK  RHYMES 

SALA  wa  men  tenge,  Cimpungelu. 
Sala  wa  men  tenge,  Cimpungelu. 
Meme  taya  wewe,  Cimpungelu. 
Sala  wa  men  tenge,  Cimpungelu. 

Translation 
The  dancing  owl  waves  his  spread  tail  feathers. 

I'm  the  owl. 
The  dancing  owl  waves  his  spread   tail  feathers. 

I'm  the  owl. 

I  now  tell  you  by  my  dancing,  I'm  the  owl. 
The  dancing  owl   waves  his  spread  tail  feathers. 

I'm  the  owl. 

SAI  BODDEOH  SUMPUN  KOMO 

OR 

I  AM  NOT  GOING  TO  MARRY  SUMPUN 

1.  SAI  Sumpun  komo. 
De  Sumpun  nenah? 
Sumpun  se  jello  jeppo 
Boddeoh  Sumpun. 

2.  Sai  Sumpun  komo. 
De  Sumpun  nenah  ? 

Sumpun  auch  nahn  jehn  deddoc. 
Boddeoh  Sumpun. 
218 


NEGRO  FOLK  RHYMES 
Translation 

1.  I  am  not  going  to  marry  Sumpun. 
What  has  Sumpun  done? 
Sumpun  doesn't  live  a  seafaring  life 
Boddeoh  Sumpun. 

2.  I  am  not  going  to  marry  Sumpun. 
What  has  Sumpun  done? 
Sumpun  does  not  support  me. 
Boddeoh  Sumpun. 

BYANSWAHN-BYANSWAHN 

OR 

A  BOAT  SONG 

O-O  BYANSWAHN  blay  Tanner  tee-o-o. 

O  Byanswahn  jekah  jubha. 

De  jo  Byanswahn  se  kah  jujah  dai. 

0  Byanswahn  blay  dai  Tanner  tee-o-o. 

Translation 

Oh  boat,  come  back  to  me. 
Since  you  carried  my  child  away, 

1  have  not  seen  that  child. 
Oh  boat  come  back  to  me. 

219 


NEGRO  FOLK  RHYMES 

THE  TURKEY  BUZZARD 

Dr.  C.  C.  Fuller:  a  missionary  at  Chikore  Mel- 
setter,  Rhodesia,  Africa,  was  good  enough  to  secure 
for  the  compiler  this  rhyme,  written  in  Chindau, 
from  the  Rev.  John  E.  Hatch,  also  a  missionary  in 
South  Africa. 

RITI,  riti,  mwana  wa  rashika. 
Ndizo,  ndizo  kurgya  ku  wande. 
Riti,  riti,  mwana  wa  oneka. 
Ndizo,  ndizo  ti  wande  issu. 

Translation 

Turkey  buzzard,  turkey  buzzard,  your  child  is  lost. 
That  is  all  right,  the  food  will  be  more  plentiful. 
Turkey   buzzard,    turkey   buzzard,    your   child    is 

found. 
That  is  all  right,  we  will  increase  in  number. 


220 


NEGRO  FOLK  RHYMES 

THE  FROGS 

The  following  child's  play  rhyme  in  Baluba  with 
its  translation  was  contributed  by  Mrs.  L.  G.  Shep- 
pard,  who  was  for  many  years  a  missionary  in 
Congo,  Africa. 

CULA,  Cula,  Kuya  kudi  Kunyi? 
Tuyiya  ku  cisila  wa  Baluba. 
Tun  kuata  tua  kuesa  cinyi? 
Tua  kudimuka  kua  musode. 

Translation 

Frogs,  frogs,  where  are  you  going? 
We  are  going  to  the  market  of  the  Baluba. 
If  they  catch  you,  what  will  they  do? 
They  will  turn  us  all  into  lizards. 


221 


JAMAICA  RHYME 


BUSCHER  GARDEN 

This  Negro  rhyme  from  rural  Jamaica  was  con- 
tributed by  Dr.  Cecil  B.  Roddock,  a  native  of  that 
country.  The  word  Buscher  means  an  overseer  or 
master  of  a  plantation. 

ALL  a  night,  me  da  watch  a  brother  Wayrum; 

Wayrum  ina  me  Buscher  garden. 

Oh,  Brother  Wayrum!    Wha'  a  you  da  do, 

To  make  a  me  Buscher  a  catch  a  you  ? 

Oh  a  me  Buscher,  in  a  me  Buscher  garden; 

Me  a  beg  a  me  Buscher  a  pardon ! 


222 


VENEZUELAN  NEGRO  RHYMES 

These  Venezuelan  rhymes:  "A  'Would  be*  Im- 
migrant" and  "Game  Contestant's  Song,"  came  to 
us  through  the  kindness  of  Mr.  J.  C.  Williams, 
Caracas,  Venezuela,  S.  A.  He  is  a  native  of  Vene- 
zuela. 

GAME  CONTESTANT'S  SONG 

WE'RE  going  to  dig ! 

We're  going  to  dig  a  sepulcher  to  bury  those  regi- 
ments. 

White  Rose  Union ! 

Get  yourself  in  readiness  to  bury  those  regiments. 
Oh  Grentville!  *Cici!  Cici! 
Beat  them  forever. 

Sa  your  de  vrai ! 

We'll  send  them  a  challenge, 

To  mardi  carnival. 

Sa  your  de  vrai ! ! 

*  Cici  =  a  kind  of  game. 

223 


NEGRO  FOLK  RHYMES 

A  "WOULD  BE"  IMMIGRANT 

CON  jo  CELESTINE!    Oh 

He  was  going  to  Panama. 

Reavay  Trinidad ! 

Celestine  Revay,  la  Grenada! 

What  d'yoii  think  bring  Celestine  back? 

What  d'you  think  bring  Celestine  back? 

What  d'you  think  bring  Celestine  to  me? 

Twenty  cents  for  a  cup  of  tea. 


224 


TRINIDAD  NEGRO  RHYMES 

We  are  very  grateful  to  Mr.  L.  A.  Brown  for  his 
kindness  in  giving  to  us  the  two  Venezuelan  rhymes 
which  follow.  His  home  is  in  Princess  Town, 
Trinidad,  B.  W.  I. 

UN  BELLE  MARIE  COOLIE 

OR 

BEAUTIFUL  MARIE,  THE  EAST  INDIAN 

UN  belle  Marie  Coolie! 

Un  belle  Marie  Coolie! 

Un  belle  Marie  Coolie! 

Vous  belle  dame,  vous  belle  pour  moi. 

Papa  est  un  African. 

Mamma  est  un  belle  Coolie. 

Un  belle  Marie  Coolie! 

Vous  belle  dame,  vous  belle  pour  moi. 

Translation 

Beautiful  Marie,  the  East  Indian! 
Beautiful  Marie,  the  East  Indian! 
225 


NEGRO  FOLK  RHYMES 

Beautiful  Marie,  the  East  Indian! 

You  beautiful  woman,  you're  good  enough 

for  me. 

Papa  is  an  African. 
Mamma  is  a  beautiful  East  Indian. 
Beautiful  Marie,  the  East  Indian! 
You  beautiful  woman,  you're  good  enough 

for  me. 


A  TOM  CAT 

MY  father  had  a  big  Tom  cat, 

That  tried  to  play  a  fiddle. 

He  struck  it  here,  and  he  struck  it  there, 

And  he  struck  it  in  the  middle. 


3*6 


PHILIPPINE  ISLAND  RHYME 

The  following  rhyme  came  to  me  through  the 
kindness  of  Mr.  C.  W.  Ransom,  Grand  Chain,  111., 
U.  S.  A.  Mr.  Ransom  served  three  years  with  the 
United  States  Army  in  the  Philippine  Islands. 

SEE  that  Monkey  up  the  cocoanut  tree, 

A-jumpin'  an'  a-throwin'  nuts  at  me? 

El  hombre  no  savoy, 

No  like  such  play. 

All  same  to  Americano, 

No  hay  dique. 


227 


A  STUDY  IN  NEGRO  FOLK  RHYMES 

THE  lore  of  the  American  Negro  is  rich  in 
story,  in  song,  and  in  Folk  rhymes.  These  stories 
and  songs  have  been  partially  recorded,  but  so  far  as 
I  know  there  is  no  collection  of  the  American  Negro 
Folk  Rhymes.  The  collection  in  Part  I  is  a  com- 
pilation of  American  Negro  Folk  Rhymes,  and  this 
study  primarily  concerns  them;  but  it  was  necessary 
to  have  a  Foreign  Section  of  Rhymes  in  order  to 
make  our  study  complete.  I  have  therefore  inserted 
a  little  Foreign  Section  of  African,  Venezuelan,  Ja- 
maican, Trinidad,  and  Philippine  Negro  Rhymes; 
and  along  with  them  have  placed  the  names  of  the 
contributors  to  whom  we  are  under  great  obliga- 
tions, as  well  as  to  the  many  others  who  have  given 
valuable  assistance  and  suggestions  in  the  matter  of 
the  American  Negro  Rhymes  recorded. 

When  critically  measured  by  the  laws  and  usages 

governing   the    best    English   poetry,    Negro    Folk 

Rhymes  will  probably  remind  readers  of  the  story  of 

the  good  brother,  who  arose  solemnly  in  a  Christian 

228 


NEGRO  FOLK  RHYMES 

praise  meeting,  and  thanked  God  that  he  had  broken 
all  the  Commandments,  but  had  kept  his  religion. 

Though  decent  rhyme  is  often  wanting,  and  in 
the  case  of  the  "Song  to  the  Runaway  Slave,"  there 
is  no  rhyme  at  all,  the  rhythm  is  found  almost  per- 
fect in  all  of  them. 

A  few  of  the  Rhymes  bear  the  mark  of  a  some- 
what recent  date  in  composition.  The  majority  of 
them,  however,  were  sung  by  Negro  fathers  and 
mothers  in  the  dark  days  of  American  slavery  to 
their  children  who  listened  with  eyes  as  large  as 
saucers  and  drank  them  down  with  mouths  wide 
open.  The  little  songs  were  similar  in  structure  to 
the  Jubilee  Songs,  also  of  Negro  Folk  origin. 

If  one  will  but  examine  the  recorded  Jubilee 
songs,  he  will  find  that  it  is  common  for  stanzas, 
which  are  apparently  most  distantly  related  in 
structure,  to  sing  along  in  perfect  rhythm  in  the 
same  tune  that  carefully  counts  from  measure  to 
measure  one,  two;  or  one,  two,  three,  four.  Here 
is  an  example  of  two  stanzas  taken  from  the  Jubilee 
song,  "Wasn't  That  a  Wide  River?" 

1.  "Old  Satan's  just  like  a  snake  in  the  grass, 
He's  a-watching  for  to  bite  you  as  you  pass. 

2.  Shout!  Shout!  Satan's  about. 

Just  shut  your  door,  and  keep  him  out." 
229 


NEGRO  FOLK  RHYMES 

An  examination  of  stanzas  in  various  Jubilee  songs 
will  show  in  the  same  song  large  variations  in  poetic 
feet,  etc.,  not  only  from  stanza  to  stanza;  but  very 
often  from  line  to  line,  and  even  from  phrase  to 
phrase.  Notwithstanding  all  this  variation,  a  well 
trained  band  of  singers  will  render  the  songs  with 
such  perfect  rhythm  that  one  scarcely  realizes  that 
the  structure  of  any  one  stanza  differs  materially 
from  that  of  another. 

A  stanza,  as  it  appears  in  Negro  Folk  Rhymes,  is 
of  the  same  construction  as  that  found  in  the  Jubilee 
Songs.  A  perfect  rhythm  is  there.  If  while  read- 
ing them  you  miss  it,  read  yet  once  again;  you  will 
find  it  in  due  season  if  you  "faint  not"  too  early. 

As  a  rule,  Negro  Folk  verse  is  so  written  that  it 
fits  into  measures  of  music  written  4/4  or  2/4  time. 
You  can  therefore  read  Negro  Folk  Rhymes  silently 
counting:  one,  two;  or,  one,  two,  three,  four;  and 
the  stanzas  fit  directly  into  the  imaginary  music 
measures  if  you  are  reading  in  harmony  with  the 
intended  rhythm.  I  know  of  only  three  Jubilee 
Songs  whose  stanzas  are  transcribed  as  exceptions. 
They  are — 

1 i )  "I'm  Going  to  Live  with  Jesus,"   6/8  time, 

(2)  "Gabriel's  Trumpet's  Going  to  Blow,"  %  time, 
and  (3)  "Lord  Make  Me  More  Patient,"  6/8  time. 

230 


NEGRO  FOLK  RHYMES 

It  is  interesting  to  note  along  with  these  that 
the  "Song  of  the  Great  Owl,"  the  "Negro  Sol- 
dier's Civil  War  Chant,"  and  "Destitute  For- 
mer Slave  Owners,"  are  seemingly  the  only  ones  in 
our  Folk  Rhyme  collection  which  would  call  for  a 
%  or  6/8  measure.  Such  a  measure  is  rare  in  all 
literary  Negro  Folk  productions. 

The  Negro,  then,  repeated  or  sang  his  Folk 
Rhymes,  and  danced  them  to  4/4  and  2/4  meas- 
ures. Thus  Negro  Folk  Rhymes,  with  very  few  ex- 
ceptions, are  poetry  where  a  music  measure  is  the 
unit  of  measurement  for  the  words  rather  than  the 
poetic  foot.  This  is  true  whether  the  Rhyme  is,  or  is 
not,  sung.  Imaginary  measures  either  of  two  or  four 
beats,  with  a  given  number  of  words  to  a  beat,  a 
number  that  can  be  varied  limitedly  at  will,  seems 
to  be  the  philosophy  underlying  all  Negro  slave 
rhyme  construction. 

As  has  just  been  casually  mentioned,  the  Negro 
Folk  Rhyme  was  used  for  the  dance.  There  are 
Negro  Folk  Rhyme  Dance  Songs  and  Negro  Folk 
Dance  Rhymes.  An  example  of  the  former  is  found 
in  "The  Banjo  Picking,"  and  of  the  latter,  "Juba," 
both  found  in  this  collection.  The  reader  may  won- 
der how  a  Rhyme  simply  repeated  was  used  in  the 
dance.  The  procedure  was  as  follows:  Usually 
231 


NEGRO  FOLK  RHYMES 

one  or  two  individuals  "star"  danced  at  time.  The 
others  of  the  crowd  (which  was  usually  large) 
formed  a  circle  about  this  one  or  two  who  were  to 
take  their  prominent  turn  at  dancing.  I  use  the 
terms  "star"  danced  and  "prominent  turn"  because 
in  the  latter  part  of  our  study  we  shall  find  that  all 
those  present  engaged  sometimes  at  intervals  in  the 
dance.  But  those  forming  the  circle,  for  most  of 
the  time,  repeated  the  Rhyme,  clapping  their  hands 
together,  and  patting  their  feet  in  rhythmic  time 
with  the  words  of  the  Rhyme  being  repeated.  It 
was  the  task  of  the  dancers  in  the  middle  of  the  circle 
to  execute  some  graceful  dance  in  such  a  manner 
that  their  feet  would  beat  a  tattoo  upon  the  ground 
answering  to  every  word,  and  sometimes  to  every 
syllable  of  the  Rhyme  being  repeated  by  those  in  the 
circle.  There  were  many  such  Rhymes.  "  Tossum 
Up  the  Gum  Stump,"  and  "Jawbone"  are  good  ex- 
amples. The  stanzas  to  these  Rhymes  were  not 
usually  limited  to  two  or  three,  as  is  generally  the 
case  with  those  recorded  in  our  collection.  Each 
selection  usually  had  many  stanzas.  Thus  as  there 
came  variation  in  the  words  from  stanza  to  stanza, 
the  skill  of  the  dancers  was  taxed  to  its  utmost,  in  or- 
der to  keep  up  the  graceful  dance  and  to  beat  a 
changed  tattoo  upon  the  ground  corresponding  to  the 
232 


NEGRO  FOLK  RHYMES 

changed  words.  If  any  find  fault  with  the  limited 
number  of  stanzas  recorded  in  our  treatise,  I  can  in 
apology  only  sing  the  words  of  a  certain  little  en- 
core song  each  of  whose  two  little  stanzas  ends 
with  the  words,  "Please  don't  call  us  back,  because 
we  don't  know  any  more." 

There  is  a  variety  of  Dance  Rhyme  to  which  it  is 
fitting  to  call  attention.  This  variety  is  illustrated 
in  our  collection  by  "Jump  Jim  Crow,"  and  "Juba." 
In  such  dances  as  these,  the  dancers  were  required 
to  give  such  movements  of  body  as  would  act  the 
sentiment  expressed  by  the  words  while  keeping  up 
the  common  requirements  of  beating  these  same 
words  in  a  tattoo  upon  the  ground  with  the  feet  and 
executing  simultaneously  a  graceful  dance. 

It  is  of  interest  also  to  note  that  the  antebellum 
Negro  while  repeating  his  Rhymes  which  had  no 
connection  with  the  dance  usually  accompanied  the 
repeating  with  the  patting  of  his  foot  upon  the 
ground.  Among  other  things  he  was  counting  off 
the  invisible  measures  and  bars  of  his  Rhymes,  things 
largely  unseen  by  the  world  but  very  real  to  him. 
Every  one  who  has  listened  to  a  well  sung  Negro 
Jubilee  Song  knows  that  it  is  almost  impossible 
to  hear  one  sung  and  not  pat  the  foot.  I  have 
seen  the  feet  of  the  coldest  blooded  Caucasians 
233 


NEGRO  FOLK  RHYMES 

pat  right  along  while  Jubilee  melodies  were  being 
sung. 

All  Negro  Folk  productions,  including  the  Negro 
Folk  Rhymes,  seem  to  call  for  this  patting  of  the 
foot.  The  explanation  which  follows  is  offered  for 
consideration.  The  orchestras  of  the  Native  Afri- 
can were  made  up  largely  of  crudely  constructed 
drums  of  one  sort  or  another.  Their  war  songs  and 
so  forth  were  sung  to  the  accompaniment  of  these 
drum  orchestras.  When  the  Negroes  were  trans- 
ported to  America,  and  began  to  sing  songs  and  to 
chant  words  in  another  tongue,  they  still  sang  strains 
calling,  through  inheritance,  for  the  accompaniment 
of  their  ancestral  drum.  The  Negro's  drum  having 
fallen  from  him  as  he  entered  civilization,  he  unwit- 
tingly called  into  service  his  foot  to  take  its  place. 
This  substitution  finds  a  parallelism  in  the  highly 
cultivated  La  France  rose,  which  being  without  sta- 
mens and  pistils  must  be  propagated  by  cuttings  or 
graftings  instead  of  by  seeds.  The  rose,  purposeless, 
emits  its  sweet  perfume  to  the  breezes  and  thus  it 
attracts  insects  for  cross  fertilization  simply  because 
its  staminate  and  pistillate  ancestors  thus  called  the 
insect  world  for  that  purpose.  The  rattle  of  the 
crude  drum  of  the  Native  African  was  loud  by  in- 
heritance in  the  hearts  of  his  early  American  de- 
234 


NEGRO  FOLK  RHYMES 

scendants  and  its  unseen  ghost  walks  in  the  midst 
of  all  their  poetry. 

Many  Negro  Folk  Rhymes  were  used  as  banjo 
and  fiddle  (violin)  songs.  It  ought  to  be  borne  in 
mind,  however,  that  even  these  were  quite  often 
repeated  without  singing  or  playing.  It  was  com- 
mon in  the  early  days  of  the  public  schools  of  the 
South  to  hear  Negro  children  use  them  as  declama- 
tions. The  connection,  however,  of  Negro  Folk 
Rhymes  with  their  secular  music  productions  is  well 
worthy  of  notice. 

I  have  often  heard  those  who  liked  to  think 
and  discuss  things  musical,  wonder  why  little  or  no 
music  of  a  secular  kind  worth  while  seemed  to  be 
found  among  Negroes  while  their  religious  music, 
the  Jubilee  Songs,  have  challenged  the  admiration 
of  the  world.  The  songs  of  most  native  peoples 
seem  to  strike  "high  water  mark"  in  the  secular 
form.  Probably  numbers  of  us  have  heard  the  ex- 
planation: "You  see,  the  Negro  is  deeply  emotional; 
religion  appealed  to  him  as  did  nothing  else.  The 
Negro  therefore  spent  his  time  singing  and  shouting 
praises  to  God,  who  alone  could  whisper  in  his 
heart  and  stir  up  these  emotions."  There  is  per- 
haps much  truth  in  this  explanation.  It  is  also  such 
a  delicate  and  high  compliment  to  the  Negro  race, 
235 


NEGRO  FOLK  RHYMES 

that  I  hesitate  to  touch  ft.  One  of  the  very  few 
gratifying  things  that  has  come  to  Negroes  is  the 
unreserved  recognition  of  their  highly  religious  char- 
acter. There  is  a  truth,  however,  about  the  rela- 
tion between  the  Negro  Folk  Rhyme  and  the  Negro's 
banjo  and  fiddle  music  which  ought  to  be  tcld  even 
though  some  older,  nicer  viewpoints  might  be  a  little 
shifted. 

There  were  quite  a  few  Rhymes  sung  where  the 
banjo  and  fiddle  formed  what  is  termed  in  music  a 
simple  accompaniment.  Examples  of  these  are 
found  in  "Run,  Nigger,  Run,"  and  "I'll  Wear  Me  a 
Cotton  Dress."  In  such  cases  the  music  consisted  of 
simple  short  tunes  unquestionably  "born  to  die." 

There  was  another  class  of  Rhymes  like  "Devilish 
Pigs,"  that  were  used  with  the  banjo  and  fiddle  in 
quite  another  way.  It  was  the  banjo  and  fiddle  pro- 
ductions of  this  kind  of  Rhyme  that  made  the 
"old  time"  Negro  banjo  picker  and  fiddler  famous. 
It  has  caused  quite  a  few,  who  heard  them,  to  declare 
that,  saint  or  sinner,  it  was  impossible  to  keep  your 
feet  still  while  they  played.  The  compositions  were 
comparatively  long.  From  one  to  four  lines  of  a 
Negro  Folk  Rhyme  were  sung  to  the  opening  meas- 
ures of  the  instrumental  composition;  then  followed 
the  larger  and  remaining  part  of  the  composition, 

236 


NEGRO  FOLK  RHYMES 

instruments  alone.  In  the  Rhyme  "Devilish  Pigs" 
four  lines  were  used  at  a  time.  Each  time  that  the 
music  theme  of  the  composition  was  repeated,  an- 
other set  of  Rhyme  lines  was  repeated;  and  the 
variations  in  the  music  theme  were  played  in  each 
repeat  which  recalled  the  newly  repeated  words  of 
the  Rhyme.  The  ideal  in  composition  from  an  in- 
strumental viewpoint  might  quite  well  remind  one 
of  the  ideal  in  piano  compositions,  which  consists 
of  a  theme  with  variations.  The  first  movement  of 
Beethoven's  Sonata,  Opus  26,  illustrates  the  music 
ideal  in  composition  to  which  I  refer. 

So  far  as  I  know  no  Caucasian  instrumental 
music  composer  has  ever  ordered  the  performers  un- 
der his  direction  to  sing  a  few  of  the  first  measures 
of  his  composition  while  the  string  division  of  the 
orchestra  played  its  opening  chords.  Only  the 
ignorant  Negro  composer  has  done  this.  Some  white 
composers  have  made  little  approaches  to  it.  A  fair 
sample  of  an  approach  is  found  in  the  Idylls  of  Ed- 
ward McDowell,  for  piano,  where  every  exquisite 
little  tone  picture  is  headed  by  some  gem  in  verse, 
reading  which  the  less  musically  gifted  may  gain  a 
deeper  insight  into  the  philosophical  tone  discourse 
set  forth  in  the  notes  and  chords  of  the  composition. 

The  Negro  Folk  Rhyme,  then,  furnished  the  ideas 
237 


NEGRO  FOLK  RHYMES 

about  which  the  "old  time"  Negro  banjo  picker 
and  fiddler  clustered  his  best  instrumental  music 
thoughts.  It  is  too  bad  that  this  music  passed  away 
unrecorded  save  by  the  hearts  of  men.  Paul  Lau- 
rence Dunbar  depicts  its  telling  effects  upon  the 
hearer  in  his  poem  "The  Party" : 

"Cripple  Joe,  de  ole  rheumatic,  danced  dat  flo'  frum 

side  to  middle. 
Throwed   away  his  crutch   an*  hopped   it,   what's 

rheumatics  'gainst  a  fiddle? 
Eldah  Thompson  got  so  tickled  dat  he  lak  to  los'  his 

grace, 
Had  to  take  bofe  feet  an'  hold  'em,  so's  to  keep  'em 

in  deir  place. 
An'  de  Christuns  an'  de  sinnahs  got  so  mixed  up  on 

dat  flo', 
Dat  I  don't  see  how  dey's  pahted  ef  de  trump  had 

chonced  to  blow." 

Perhaps  a  new  school  of  orchestral  music  might 
be  built  on  the  Negro  idea  that  some  of  the  per- 
formers sing  a  sentence  or  so  here  and  there,  both 
to  assist  the  hearers  to  a  clearer  musical  understand- 
ing and  to  heighten  the  general  artistic  finish.  The 
old  Negro  performers  generally  sang  lines  of  the 
Folk  Rhymes  at  the  opening  but  occasionally  in  the 

238 


NEGRO  FOLK  RHYMES 

midst  of  their  instrumental  compositions.  I  do  not 
recall  any  case  where  lines  were  sung  to  the  closing 
measures  of  the  compositions. 

It  might  seem  odd  to  some  that  the  grotesque 
Folk  Rhyme  should  have  given  rise  to  comparatively 
long  instrumental  music  compositions.  I  think  the 
explanation  is  probably  very  simple.  The  African 
on  his  native  heath  had  his  crude  ancestral  drum  as 
his  leading  musical  instrument.  He  sang  or  shouted 
his  war  songs  consisting  of  a  few  words,  and  of  a 
few  notes,  then  followed  them  up  with  the  beating 
of  his  drum,  perhaps  for  many  minutes,  or  even  for 
hours.  In  civilization,  the  banjo,  fiddle,  "quills," 
and  "triangle"  largely  took  the  place  of  his  drum. 
Thus  the  singing  of  opening  strains  and  following 
them  with  the  main  body  of  the  instrumental  com- 
position, is  in  keeping  with  the  Negro's  inherited  law 
for  instrumental  compositions  from  his  days  of 
savagery.  The  rattling,  distinct  tones  of  the  banjo, 
recalling  unconsciously  his  inherited  love  for  the 
rattle  of  the  African  ancestral  drum,  is  probably  the 
thing  which  caused  that  instrument  to  become  a 
favorite  among  Negro  slaves. 

I  would  next  consider  the  relation  of  the  Folk 
Rhymes  to  Negro  child  life.  They  were  instilled 
into  children  as  warnings.  In  the  years  closely  fol.- 
239 


NEGRO  FOLK  RHYMES 

lowing  our  Civil  War,  it  was  common  for  a  young 
Negro  child,  about  to  engage  in  a  doubtful  venture, 
to  hear  his  mother  call  out  to  him  the  Negro  Rhyme 
recorded  by  Joel  Chandler  Harris,  in  the  Negro 
story,  "The  End  of  Mr.  Bear": 

"Tree  stan'  high,  but  honey  mighty  sweet — 
Watch  dem  bees  wid  stingers  on  der  feet." 

These  lines  commonly  served  to  recall  the  whole 
story,  it  being  the  Rabbit's  song  in  that  story,  and 
the  child  stopped  whatever  he  was  doing.  Other 
and  better  examples  of  such  Rhymes  are  "Young 
Master  and  Old  Master,"  "The  Alabama  Way," 
and  "You  Had  Better  Mind  Master,"  found  in  our 
collection. 

The  warnings  were  commonly  such  as  would  help 
the  slave  to  escape  more  successfully  the  lash,  and 
to  live  more  comfortably  under  slave  conditions.  I 
would  not  for  once  intimate  that  I  entertain  the 
thought  that  the  ignorant  slave  carefully  and  philo- 
sophically studied  his  surroundings,  reasoned  it  to  be 
a  fine  method  to  warn  children  through  poetry, 
composed  verse,  and  like  a  wise  man  proceeded  to 
use  it.  Of  course  thinking  preceded  the  making  of 
the  Rhyme,  but  a  conscious  system  of  making  verses 
240 


NEGRO  FOLK  RHYMES 

for  the  purpose  did  not  exist.  I  have  often  watched 
with  interest  a  chicken  hen  lead  forth  her  brood  of 
young  for  the  first  time.  While  the  scratching  and 
feeding  are  going  on,  all  of  a  sudden  the  hen  utters 
a  loud  shriek,  and  flaps  her  wings.  The  little  chicks, 
although  they  have  never  seen  a  hawk,  scurry  hither 
and  thither,  and  so  prostrate  their  little  brown  and 
ashen  bodies  upon  the  ground  as  almost  to  conceal 
themselves.  The  Negro  Folk  Rhymes  of  warning 
must  be  looked  upon  a  little  in  this  same  light.  They 
are  but  the  strains  of  terror  given  by  the  promptings 
of  a  mother  instinct  full  enough  of  love  to  give  up 
life  itself  for  its  defenseless  own. 

Many  Rhymes  were  used  to  convey  to  children 
the  common  sense  truths  of  life,  hidden  beneath  their 
comic,  crudely  cut  coats.  Good  examples  are  "Old 
Man  Know-Ail,"  "Learn  to  Count,"  and  "Shake 
the  Persimmons  Down."  All  through  the  Rhymes 
will  be  found  here  and  there  many  stanzas  full  of 
common  uncommon  sense,  worthwhile  for  chil- 
dren. 

Many  Negro  Folk  Rhymes  repeated  or  sung  to 
children  on  their  parents'  knees  were  enlarged  and 
told  to  them  as  stories,  when  they  became  older. 
The  Rhyme  in  our  collection  on  "Judge  Buzzard" 
is  one  of  this  kind.  In  the  Negro  version  of  the 
241 


NEGRO  FOLK  RHYMES 

race  between  the  hare  and  the  tortoise  ("rabbit  and 
terrapin"),  the  tortoise  wins  not  through  the  hare's 
going  to  sleep,  but  through  a  gross  deception  of  all 
concerned,  including  even  the  buzzard  who  acted 
as  Judge.  The  Rhyme  is  a  laugh  on  "Jedge  Buz- 
zard." It  was  commonly  repeated  to  Negro  chil- 
dren in  olden  days  when  they  passed  erroneous  judg- 
ments. "Buckeyed  rabbit!  Whoopee!"  in  our  vol- 
ume belongs  with  the  Negro  story  recorded  by  Joel 
Chandler  Harris  under  the  title,  "How  Mr.  Rabbit 
Lost  His  Fine  Bushy  Tail,"  though  for  some  reason 
Mr.  Harris  failed  to  weave  it  into  the  story  as  was 
the  Negro  custom.  "The  Turtle's  Song,"  in  our  col- 
lection, is  another,  which  belongs  with  the  story, 
"Mr.  Terrapin  Shows  His  Strength" ;  a  Negro  story 
given  to  the  world  by  the  same  author,  though  the 
Rhyme  was  not  recorded  by  him.  It  might  be  of  in- 
terest to  know  that  the  Negroes,  when  themselves 
telling  the  Folk  stories,  usually  sang  the  Folk  Rhyme 
portions  to  little  "catchy"  Negro  tunes.  I  would  not 
under  any  circumstances  intimate  that  Mr.  Harris 
carelessly  left  them  out.  He  recorded  many  little 
stanzas  in  the  midst  of  the  stories.  Examples  are : 

(a)   "We'll  stay  at  home  when  you're  away 
'Cause  no  gold  won't  pay  toll." 
242 


NEGRO  FOLK  RHYMES 

(b)   "Big  bird  catch,  little  bird  sing. 
Bug  bee  zoom,  little  bee  sting. 
Little  man  lead,  and  the  big  horse  follow, 
Can  you  tell  what's  good  for  a  head  in  a  hol- 
low?" 

These  and  many  others  are  fragmentarily  recorded 
among  Mr.  Harris'  Negro  stories  in  "Nights  With 
Uncle  Remus." 

Folk  Rhymes  also  formed  in  many  cases  the  words 
of  Negro  Play  Songs.  "Susie  Girl,"  and  "Peep 
Squirrel,"  found  in  our  collection,  are  good  illustra- 
tions of  the  Rhymes  used  in  this  way.  The  words 
and  the  music  of  such  Rhymes  were  usually  of  poor 
quality.  When,  however,  they  were  sung  by  chil- 
dren with  the  proper  accompanying  body  move- 
ments, they  might  quite  well  remind  one  of  the 
"Folk  Dances"  used  in  the  present  best  up-to-date 
Primary  Schools.  They  were  the  little  *rays  of 
sunshine  in  the  dark  dreary  monotonous  lives  of 
black  slave  children. 

Possibly  the  thing  which  will  impress  the  reader 
most  in  reading  Negro  Folk  Rhymes  is  their 
good-natured  drollery  and  sparkling  nonsense.  I 
believe  this  is  very  important.  Many  have  recounted 
in  our  hearing,  the  descriptions  of  "backwoods"  Ne- 
243 


NEGRO  FOLK  RHYMES 

gro  picnics.  I  have  witnessed  some  of  them  where 
the  good-natured  vender  of  lemonade  and  cakes  cried 
out: 

"Here's  yo'  col'  ice  lemonade, 

It's  made  in  de  shade, 

It's  stirred  wid  a  spade. 

Come  buy  my  col'  ice  lemonade. 

It's  made  in  de  shade 

An'  sol'  in  de  sun. 

Ef  you  hain't  got  no  -money, 

You  cain't  git  none. 

One  glass  fer  a  nickel, 

An'  two  fer  a  dime, 

Ef  you  hain't  got  de  chink, 

You  cain't  git  mine. 

Come  right  dis  way, 

Fer  it  sho'  will  pay 

To  git  candy  fer  de  ladies 

An'  cakes  fer  de  babies." 

"Did  these  venders  sell?"  Well,  all  agree  that  they 
did.  The  same  principle  applied,  with  much  of  the 
nonsense  eliminated,  will  probably  make  of  the 
Negro  a  great  merchant,  as  caste  gives  way  enough 
to  allow  him  a  common  man's  business  chance.  Of 
all  the  races  of  men,  the  Negro  alone  has  demon- 
244 


NEGRO  FOLK  RHYMES 

strated  his  ability  to  come  into  contact  with  the 
white  man  and  neither  move  on  nor  be  annihilated. 
I  believe  this  is  largely  due  to  his  power  to  muster 
wit  and  humor  on  all  occasions,  and  even  to  laugh 
in  the  face  of  adversity.  He  refused  during  the 
days  of  slavery  to  take  the  advice  of  Job's  wife,  and 
to  "Curse  God  and  die."  He  repeated  and  sang 
his  comic  Folk  Rhymes,  danced,  lived,  and  came  out 
of  the  Night  of  Bondage  comparatively  strong. 

The  compiler  of  the  Rhymes  was  quite  interested 
to  find  that  as  a  rule  the  country-reared  Negro  had  a 
larger  acquaintance  with  Folk  Rhymes  than  one 
brought  up  in  the  city.  The  human  mind  craves 
occasional  recreation,  entertainment,  and  amuse- 
ment. In  cities  where  there  is  an  almost  continuous 
passing  along  the  crowded  thoroughfares  of  much 
that  contributes  to  these  ends,  the  slave  Negro 
needed  only  to  keep  his  eyes  open,  his  ears  attentive, 
and  laugh.  He  directed  his  life  accordingly.  But, 
in  the  country  districts  there  was  only  the  monotony 
of  quiet  woods  and  waving  fields  of  cotton.  The 
rural  scenes,  though  beautiful  in  themselves,  refuse 
to  amuse  or  entertain  those  who  will  not  hold  com- 
munion with  them.  The  country  Negro  longing  for 
amusement  communed  in  his  crude  way,  and  Nature 
gave  him  Folk  Rhymes  for  entertainment.  Among 
245 


NEGRO  FOLK  RHYMES 

those  found  to  be  clearly  of  this  kind  may  be  men- 
tioned "The  Great  Owl's  Song,"  "Tails,"  "Red- 
head Woodpecker,"  "The  Snail's  Reply,"  "Bob- 
white's  Song,"  "Chuck  Will's  Widow  Song,"  and 
many  others. 

The  Folk  Rhymes  were  not  often  repeated  as  such 
or  as  whole  compositions  by  the  "grown-ups"  among 
Negroes  apart  from  the  Play  and  the  Dance.  If, 
however,  you  had  had  an  argument  with  an  antebel- 
lum Negro,  had  gotten  the  better  of  the  argument, 
and  he  still  felt  confident  that  he  was  right,  you 
probably  would  have  heard  him  clcse  his  side  of  the 
debate  with  the  words:  "Well,  'Ole  Man  Know- 
Ail  is  Dead.'  "  This  is  only  a  short  prosaic  version 
of  his  rhyme  "Old  Man  Know-All,"  found  in  our 
collection.  Many  of  the  characteristic  sayings  of 
"Uncle  Remus"  woven  into  story  by  Joel  Chandler 
Harris  had  their  origin  in  these  Folk  Rhymes. 
"Dem  dat  know  too  much  sleep  under  de  ash -hop- 
per" (Uncle  Remus)  clearly  intimates  to  all  who 
know  about  the  old-fashioned  ash-hopper  that  such 
an  individual  lies.  This  saying  is  a  part  of  an- 
other stanza  of  "Old  Man  Know-Ail,"  but  I  cannot 
recall  it  from  my  dim  memory  of  the  past,  and  others 
whom  I  have  asked  seem  equally  unable  to  do  so, 
though  they  have  once  known  it. 

As  is  the  case  with  all  things  of  Folk  origin, 
246 


NEGRO  FOLK  RHYMES 

there  is  usually  more  than  one  version  of  each  Negro 
Folk  Rhyme.  In  many  cases  the  exercising  of  a 
choice  between  many  versions  was  difficult.  I  can 
only  express  the  hope  that  my  choices  have  been  wise. 

There  are  two  American  Negro  Folk  Rhymes  in 
our  collection:  "Frog  in  a  Mill"  and  "Tree  Frogs," 
which  are  oddities  in  "language."  They  are  rhymes 
of  a  rare  type  of  Negro,  which  has  long  since  disap- 
peared. They  were  called  "Ebo"  Negroes  and 
"Guinea"  Negroes.  The  so-called  "Ebo"  Negro 
used  the  word  "la"  very  largely  for  the  word  "the." 
This  and  some  other  things  have  caused  me  to  think 
that  the  "Ebo"  Negro  was  probably  one  who  was 
first  a  slave  among  the  French,  Spanish,  or  Portu- 
guese, and  was  afterwards  sold  to  an  English-speak- 
ing owner.  Thus  his  language  was  a  mixture  of 
African,  English,  and  one  of  these  languages.  The 
so-called  "Guinea"  Negro  was  simply  one  who  had 
not  been  long  from  Africa;  his  language  being  a 
mixture  of  his  African  tongue  and  English.  These 
rhymes  are  to  the  ordinary  Negro  rhymes  what 
"Jutta  Cord  la"  in  "Nights  with  Uncle  Remus,"  by 
Joel  Chandler  Harris,  is  to  the  ordinary  Negro 
stories  found  there.  They  are  probably  representa- 
tive, in  language,  of  the  most  primitive  Negro  Folk 
productions. 

Some  of  the  rhymes  are  very  old  indeed.  If  one 
247 


NEGRO  FOLK  RHYMES 

will  but  read  "Master  Is  Six  Feet  One  Way,"  found 
in  our  collection,  he  will  find  in  it  a  description  of  a 
slave  owner  attired  in  Colonial  garb.  It  clearly  be- 
longs, as  to  date  of  composition,  either  to  Colonial 
days,  or  to  the  very  earliest  years  of  the  American 
Republic.  When  we  consider  it  as  a  slave  rhyme, 
it  is  far  from  crudest,  notwithstanding  the  early 
period  of  its  production. 

If  one  carefully  studies  our  collection  of  rhymes, 
he  will  probably  get  a  new  and  interesting  picture  of 
the  Negro's  mental  attitude  and  reactions  during  the 
days  of  his  enslavement.  One  of  these  mental  reac- 
tions is  calculated  to  give  one  a  surprise.  One  would 
naturally  expect  the  Negro  under  hard,  trying,  bitter 
slave  conditions,  to  long  to  be  white.  There  is  a  re- 
markable Negro  Folk  rhyme  which  shows  that  this 
was  not  the  case.  This  rhyme  is:  "I'd  Rather  Be  a 
Negro  Than  a  Poor  White  Man."  We  must  bear  in 
mind  that  a  Folk  Rhyme  from  its  very  nature  car- 
ries in  it  the  crystallized  thought  of  the  masses.  This 
rhyme,  though  a  little  acidic  and  though  we  have 
recorded  the  milder  version,  leaves  the  unquestioned 
conclusion  that,  though  the  Negro  masses  may  have 
wished  for  the  exalted  station  of  the  rich  Southern 
white  man  and  possibly  would  have  willingly  had  a 
white  color  as  a  passport  to  position,  there  "never 

248 


NEGRO  FOLK  RHYMES 

was  a  time  when  the  Negro  masses  desired  to  be 
white  for  the  sake  of  being  white.  Of  course  there 
is  the  Negro  rhyme,  "I  Wouldn't  Marry  a  Black 
Girl,"  but  along  with  it  is  another  Negro  rhyme,  "I 
Wouldn't  Marry  a  White  or  a  Yellow  Negro  Girl." 
The  two  rhymes  simply  point  out  together  a  division 
of  Negro  opinion  as  to  the  ideal  standard  of  beauty 
in  personal  complexion.  One  part  of  the  Negroes 
thought  white  or  yellow  the  more  beautiful  standard 
and  the  other  part  of  the  Negroes  thought  black  the 
more  beautiful  standard. 

The  body  of  the  Rhymes,  here  and  there,  carries 
many  facts  between  the  lines,  well  worth  knowing. 

This  collection  also  will  shed  some  light  on  how 
the  Negro  managed  to  go  through  so  many  genera- 
tions "in  slavery  and  still  come  out"  with  a  bright, 
capable  mind.  There  were  no  colleges  or  schools 
for  them,  but  there  were  Folk  Rhymes,  stories,  Jubi- 
lee songs,  and  Nature;  they  used  these  and  kept 
mentally  fit. 

I  now  approach  the  more  difficult  and  probably 
the  most  important  portion  of  my  discussion  in  the 
Study  of  Negro  Folk  Rhymes.  It  is  a  discussion 
that  I  would  have  willingly  omitted,  had  I  not 
thought  that  some  one  owed  it  to  the  world.  Seeing 
a  dett,  as  I  thought,  and  not  seeing  another  to  pay 
249 


NEGRO  FOLK  RHYMES 

it,  I  have  reluctantly  undertaken  to  discharge  the 
obligation. 

If  I  were  so  fortunate  as  to  possess  a  large  flower 
garden  with  many  new  and  rare  genera  and  species, 
and  wished  to  acquaint  my  friends  with  them,  I 
should  first  take  these  friends  for  a  walk  through 
the  garden,  that  they  might  see  the  odd  tints  and 
hues,  might  inhale  a  little  of  the  new  fragrance,  and 
might  get  some  idea  as  to  the  prospects  for  the 
utilization  of  these  new  plants  in  the  world.  Then, 
taking  these  friends  back  to  my  study  room,  I  should 
consider  in  a  friendly  manner  along  with  them,  the 
Families  and  the  Species,  and  the  varieties.  Finally, 
I  should  endeavor  to  lay  before  them  from  whence 
these  new  and  strange  flowers  came.  I  have  en- 
deavored to  pursue  this  method  in  my  discussion  of 
the  Negro  Folk  Rhymes.  In  the  foregoing  I  have 
endeavored  to  take  the  friendly  reader  for  a  walk 
through  this  new  and  strange  garden  of  Rhymes, 
and  I  now  extend  an  invitation  to  him  to  come  into 
the  Study  Room  for  a  more  critical  view  of  them. 

When  one  enters  upon  the  slightest  contemplation 
of  Negro  Folk  Rhyme  classification,  and  is  kind- 
hearted  enough  to  dignify  them  with  a  claim  to  kin- 
ship to  real  poetry,  the  word  Ballad  rolls  out  with- 
out the  slightest  effort,  as  a  term  that  takes  them  all 
250 


NEGRO  FOLK  RHYMES 

in.  Yes,  this  is  very  true,  but  they  are  of  a  strange 
type  indeed.  They  are  Nature  Ballads,  many  of 
them,  in  the  sense  as  ordinarily  used.  In  quite  an- 
other sense,  however,  from  that  in  which  Nature 
Ballad  is  ordinarily  used,  about  all  Folk  Rhymes  are 
Nature  Ballads. 

I  do  not  have  reference  to  the  thought  content, 
but  have  reference  to  what  I  term  Nature  Ballads  in 
form.  Permit  me  to  explain  by  analogy  just  what 
I  would  convey  by  the  term  Nature  Ballad  in  form. 

All  Nature  is  one.  Though  we  arbitrarily  divide 
Nature's  objects  for  study,  they  are  indissolubly 
bound  together  and  every  part  carries  in  some  part 
of  its  constitution  some  well  defined  marks  which 
characterize  the  other  parts  with  which  it  has  no 
immediate  connection.  To  illustrate:  the  absolutely 
pure  sapphire,  pure  aluminic  oxide,  crystallized,  is 
commonly  colorless,  but  we  know  that  Nature's  most 
beautiful  sapphires  are  not  colorless,  but  are  blue, 
and  of  other  beautiful  tints.  These  color  tints  are 
due  to  minutest  traces  of  other  substances,  not  at  all 
of  general  common  sapphire  composition.  We  call 
them  all  sapphires,  however,  regardless  of  their  little 
impurities  which  are  present  to  enhance  their  charm 
and  beauty.  Likewise,  all  animal  life  begins  with 
one  cell,  and  though  the  one  cell  in  one  case  devel- 
251 


NEGRO  FOLK  RHYMES 

ops  into  a  vertebrate,  and  in  another  case  into  an 
invertebrate  the  cells  persist  and  so  all  animal  life 
has  cellular  structure  in  common.  Yet,  each  animal 
branch  has  predominant  traits  that  distinguish  it 
from  all  other  branches.  This  same  thing  is  true  of 
plants. 

Nature's  method,  then,  of  making  things  seems 
to  be  to  put  in  a  large  enough  amount  of  one  thing 
to  brand  the  article,  and  then  to  mix  in,  in  small 
amounts,  enough  of  other  things  to  lend  charm  and 
beauty  without  taking  the  article  out  of  its  general 
class. 

This  is  that  which  goes  to  make  Negro  Folk 
Rhymes  Nature  Ballads  in  form.  They  are  ballads, 
but  all  in  the  midst  of  even  a  Dance  Song,  by  Na- 
ture an  ordinary  ballad,  there  may  be  interwoven 
comedy,  tragedy,  and  nearly  every  kind  of  imagina- 
ble thing  which  goes  rather  with  other  general  forms 
of  poetry  than  with  the  ballad.  As  an  example,  in 
the  Dance  Song,  "Promises  of  Freedom,"  we  have 
mustered  before  our  eyes  the  comic  drawing  of  a  de- 
ceptive ugly  old  Mistress  and  then  follows  the  inti- 
mation of  the  tragic  death  of  a  poisoned  slave  owner, 
and  as  we  are  tempted  to  dance  along  in  thought 
with  the  rhymer,  we  cannot  escape  getting  the  subtle 
impression  that  this  slave  had  at  least  some  "vague" 
252 


NEGRO  FOLK  RHYMES 

personal  knowledge  of  how  the  Master  got  that 
poison.  It  is  a  common  easy-going  ballad,  but  it  is 
tinted  with  tragedy  and  comedy.  This  general  prin- 
ciple will  be  found  to  run  very  largely  through  the 
highest  types  of  Negro  Folk  Rhymes.  It  is  the 
Nature  method  of  construction,  and  thus  we  call 
them  Nature  Ballads  in  structure,  or  form. 

Other  good  examples  of  rhymes,  Nature  Ballads 
in  structure,  are  "Frog  Went  a-Courting,"  "Sheep 
Shell  Corn,"  "Jack  and  Dinah  Want  Freedom." 

I  now  direct  attention  further  to  the  classification 
of  Negro  Rhymes  as  Ballads.  My  earnest  desire 
was  to  classify  Negro  Rhymes  under  ordinary  head- 
ings such  as  are  used  by  literary  men  and  women 
everywhere  in  their  general  classification  of  Ballads. 
I  considered  this  very  important  because  it  would 
enable  students  of  comparative  Literature  to  com- 
pare easily  the  Negro  Folk  Rhymes  with  the  Folk 
Rhymes  of  all  peoples.  I  was  much  disappointed 
when  I  found  that  the  Negro  Folk  Rhymes,  when 
invited,  refused  to  take  their  places  whole-heartedly 
in  the  ordinary  classification.  As  an  example  of 
many  may  be  mentioned  the  little  Rhyme  "Jaybird." 
It  is  a  Dance  Song,  and  thus  comes  under  the  Dance 
Song  Division,  commonly  used  for  Ballads.  But, 
it  also  belongs  under  Nature  Lore  heading,  because 
253 


NEGRO  FOLK  RHYMES 

the  Negroes  many  years  ago  often  told  a  story,  in 
conjunction  with  song,  of  the  great  misfortunes 
which  overtook  a  Negro  who  tried  to  get  his  living 
by  hunting  Jaybirds.  Finally  it  also  belongs  under 
the  heading  Superstitions,  for  its  last  stanza  very 
plainly  alludes  to  the  old  Negro  superstition  of 
slavery  days  which  declared  that  it  was  almost  im- 
possible to  find  Jaybirds  on  Friday  because  they  went 
to  Hades  on  that  day  to  carry  sand  to  the  Devil. 

But  so  important  do  I  think  of  comparative  study 
that  I  have  taken  the  ordinary  headings  used  for 
Ballads  and,  after  adding  that  omnibus  heading 
"Miscellaneous,"  have  done  my  best.  The  majority 
of  the  Rhymes  can  be  placed  under  headings  ordi- 
narily used.  This  was  to  be  expected.  It  is  in 
obedience  to  Natural  Law.  We  see  it  in  the  Music 
World.  The  Caucasian  music  has  eight  funda- 
mental tones,  the  Japanese  music  has  five,  while, 
according  to  some  authorities,  Ncr^ro  Jubilee-mu- 
sic has  nine;  yet  all  these  music  scales  have  five 
tones  in  common.  In  the  Periodic  System  of  Ele- 
ments there  are  two  periods;  a  short  period  and  a 
long  period,  but  both  periods  embrace,  in  common, 
elements  belonging  to  the  same  family.  So  with  the 
Ballads,  certain  classification  headings  will  very  well 
take  in  both  the  Negro  and  all  others.  The  Negro 
254 


NEGRO  FOLK  RHYMES 

Ballad,  however,  does  not  entirely  properly  fit  in. 
I  have  therefore  resorted  to  the  following  expedient : 
I  have  taken  the  headings  ordinarily  used,  and  have 
listed  under  each  heading  the  Negro  Rhymes  which 
belong  with  it,  as  nearly  as  possible.  I  have  placed 
this  classified  list  at  the  end  of  the  book,  under  the 
title  "Comparative  Study  Index."  By  using  this  In- 
dex one  can  locate  and  compare  Negro  Folk  produc- 
tions with  the  corresponding  Folk  productions  of 
other  peoples. 

The  headings  found  in  this  Comparative  Study 
Index  are  as  follows : 

1.  Love  Songs. 

2.  Dance  Songs. 

3.  Animal  and  Nature  Lore. 

4.  Nursery  Rhymes. 

5.  Charms  and  Superstitions. 

6.  Hunting  Songs. 

7.  Drinking  Songs. 

8.  Wise  and  Gnomic  Sayings. 

9.  Harvest  Songs. 

10.  Biblical  and  Religious  Themes. 

11.  Play  Songs. 

12.  Miscellaneous. 

With  the  way  paved  for  others  to  make  such  com- 
parative study  as  they  would  like,  I  now  feel  free 
255 


NEGRO  FOLK  RHYMES 

to  use  a  classification  which  lends  itself  more  easily 
to  a  discussion  of  the  origin  and  evolution  of  Negro 
Rhyme.  The  basic  principle  used  in  this  classifica- 
tion is  Origin  and  under  each  source  of  origin  is 
placed  the  various  classes  of  Rhymes  produced.  It 
has  seemed  to  the  writer,  who  is  himself  a  Negro, 
and  has  spent  his  early  years  in  the  midst  of  the 
Rhymes  and  witnessed  their  making,  that  there  are 
three  great  divisions  derived  from  three  great  main- 
springs or  sources. 

The  Divisions  are  as  follows: 

I.  Rhymes  derived  from  the  Social  Instinct. 

II.  Rhymes  derived  from  the  Homing  Instinct. 

III.  Rhymes  of  Psycho-composite  origin. 

The  terms  Social  and  Homing  Instincts  are  familiar 
to  every  one,  but  the  term  Psycho-composite  was 
coined  by  the  writer  after  much  hesitation  and  with 
much  regret  because  he  seemed  unable  to  find  a  word 
which  would  express  what  he  had  in  mind. 

To  make  clear :  the  classes  of  Rhymes  falling  un- 
der Divisions  I  and  II  owe  their  crudest  initial  be- 
ginnings to  instinct,  while  those  under  Division 
III  owe  their  crudest  beginnings  partly  to  instinct, 
but  partly  also  to  intelligent  thinking  processes.  To 
illustrate — Courtship  Rhymes  come  under  Division 
II,  because  courtship  primarily  arises  from  the  horn- 

256 


NEGRO  FOLK  RHYMES 

ing  instinct,  but  when  we  come  to  "quasi"  wise  say- 
ings— directed  largely  to  criticism  or  toward  im- 
provement, there  is  very  much  more  than  instinct 
concerned.  In  Division  III  the  Rhymes  are  directed 
largely  to  improvement.  In  explanation  of  why 
they  are  in  Division  III,  I  would  say,  the  desire  to 
better  one's  condition  is  instinctive,  but  the  slightest 
attainment  of  the  desire  comes  through  thought  pure 
and  simple.  I  have  invented  the  term  Psycho-com- 
posite to  include  all  this. 

In  reading  the  Rhymes  under  Division  III,  one 
finds  comparatively  large,  abstract,  general  conclu- 
sions, such  as — General  loquaciousness  is  unwise: 
Assuming  to  know  everything  is  foolish :  Self-control 
is  a  great  virtue.  Proper  preparation  must  be  made 
before  presuming  to  give  instruction,  etc.  Such  gen- 
eralizations involve  something  not  necessarily  present 
in  the  crudest  initiations  of  such  Rhymes  as  those 
found  under  Divisions  I  and  II.  Below  is  a  tabular 
view  of  my  proposed  classification  of  Negro  Folk 
Rhymes : 

DIVISION  CLASS 

I.  Dance  Rhymes 

T    n     .  .  T  „,  2.  Dance  Rhyme  Songs 

I.  Social  Instinct  Rhymes-^ 

1  3.  Play  Songs 

4.  Pastime  Rhymes 
257 


NEGRO  FOLK  RHYMES 
DIVISION  CLASS 

i.  Love  Rhymes 


II.  Homing  Instinct 
Rhymes 


2.  Courtship  Rhymes 

3.  Marriage  Rhymes 


4.  Married  Life  Rhymes 

ii.  Criticism  and 
Improvement 
Rhymes 

Under  this  tabulation,  let  us  now  proceed  to  discuss 
the  Origin  and  Evolution  of  Negro  Folk  Rhymes. 

Early  in  my  discussion  the  reader  will  recall  that 
I  explained  in  considerable  detail  how  the  Dance 
Rhyme  words  were  used  in  the  dance.  I  am  now 
ready  to  announce  that  the  Dance  Rhyme  was  de- 
rived from  the  dance,  and  to  explain  how  the  Dance 
Rhyme  became  an  evolved  product  of  the  dance. 

I  witnessed  in  my  early  childhood  the  making  of 
a  few  Dance  Rhymes.  I  have  forgotten  the  words 
of  most  of  those  whose  individual  making  I  wit- 
nessed but  the  "Jonah's  Band  Party"  found  in  our 
collection  is  one  whose  making  I  distinctly  recall. 
I  shall  tell  in  some  detail  of  its  origin  because  it 
serves  in  a  measure  to  illustrate  how  the  Dance 
Rhymes  probably  had  their  beginnings.  First  of  all 
be  it  known  that  there  was  a  "step"  in  dancing,  orig- 

258 


NEGRO  FOLK  RHYMES 

inated  by  some  Negro  somewhere,  called  "Jonah's 
Band"  step.  There  is  no  need  that  I  should  try  to 
describe  that  step  which,  though  of  the  plain  dance 
type,  was  accompanied  from  the  beginning  to  the 
end  by  indescribable  "frills"  of  foot  motion.  I 
can't  describe  it,  but  if  one  will  take  a  stick  and 
cause  it  to  tap  so  as  to  knock  the  words:  "Setch 
a  kickin'  up  san'!  Jonah's  band,"  while  he  re- 
peats the  words  in  the  time  of  2/4  music  measure, 
the  taps  will  reproduce  the  tattoo  beaten  upon  the 
ground  by  the  feet  of  the  dancers,  when  they  danced 
the  "Jonah's  Band"  step.  The  dancers  formed  a 
circle  placing  two  or  more  of  their  skilled  dancers  in 
the  middle  of  it.  Now  when  I  first  witnessed  this 
dance,  there  were  no  words  said  at  all.  There  was 
simply  patting  with  the  hands  and  dancing,  making 
a  tattoo  which  might  be  well  represented  by  the 
words  supplied  later  on  in  its  existence.  Later,  I 
witnessed  the  same  dance,  where  the  patting  and 
dancing  were  as  usual,  but  one  man,  apparently  the 
leader,  was  simply  crying  out  the  words,  "Setch  a 
kickin'  up  san'!"  and  the  crowd  answered  with  the 
words,  "Jonah's  Band!" — the  words  all  being  re- 
peated in  rhythmic  harmony  with  the  patting  and 
dancing.  Thus  was  born  the  line,  "Setch  a  kickin' 
up  san' !  Jonah's  Band !"  In  some  places  it  was  the 
259 


NEGRO  FOLK  RHYMES 

custom  to  call  on  the  dancers  to  join  with  those  of 
the  circle,  at  intervals  in  the  midst  of  the  dance,  in 
dancing  other  steps  than  the  Jonah's  Band  step. 
Some  dance  leaders,  for  example,  simply  called  in 
plain  prose — "Dance  the  Mobile  Buck,"  others  call- 
ing for  another  step  would  rhyme  their  call.  Thus 
arose  the  last  lines  to  each  stanza,  such  as — 

"Raise  yo'  right  foot,  kick  it  up  high ! 
Knock  dat  'Mobile  Buck'  in  de  eye!" 

This  is  the  genesis  of  the  "Jonah's  Band  Party," 
found  in  our  collection.  The  complete  rhyme  be- 
comes a  fine  description  of  an  old-time  Negro  party. 
It  is  probable  that  much  Dance  Rhyme  making 
originated  in  this  or  a  similar  way. 

Let  us  assume  that  Negro  customs  in  Slavery 
days  were  what  they  were  in  my  childhood  days, 
then  it  would  come  about  that  such  an  ocasional 
Rhyme  making  in  a  crowd  would  naturally  stimu- 
late individual  Rhyme  makers,  and  from  these  in- 
dividuals would  naturally  grow  up  "crops"  of  Dance 
Rhymes.  Of  course  I  cannot  absolutely  know,  but 
I  think  when  I  witnessed  the  making  of  the  "Jonah's 
Band  Party,"  that  I  witnessed  the  stimulus  which 
had  produced  the  Dance  Rhyme  through  the  decades 
of  preceding  years.  I  realize,  however,  that  this  does 
260 


NEGRO  FOLK  RHYMES 

not  account  for  the  finished  Rhyme  products.  It 
simply  gives  one  source  of  origin.  How  the  Rhyme 
grew  to  its  complex  structure  will  be  discussed  later, 
because  that  discussion  belongs  not  to  the  Dance 
Rhyme  alone,  but  to  all  the  Rhymes. 

There  was  a  final  phase  of  development  of 
"Jonah's  Band  Party"  witnessed  by  the  writer; 
namely,  the  singing  of  the  lines,  "Setch  a  kickin'  up 
san' !  Jonah's  Band !"  The  last  lines  of  the  stanzas, 
the  lines  calling  for  another  step  on  the  part  of  both 
the  circle  and  the  dancers,  were  never  sung  to  my 
knowledge.  The  little  tune  to  the  first  lines  con- 
sisted of  only  four  notes,  and  is  inserted  below. 


Setch    a    kick  -in'    u       san'!     Jon  -  ah's  bandl 


Setch    a    kick  -in'    up      san'!    Jon  -  ah's   bandl 

I  give  this  as  of  interest  because  it  marks  a  partial 
transition  from  a  Dance  Rhyme  to  a  Dance  Rhyme 
Song.  In  days  of  long  ago  I  occasionally  saw  a 
Dance  Rhyme  Song  "patted  and  danced"  instead 
of  sung  or  played  and  danced.  This  coupled  with 
the  transition  stage  of  the  "Jonah's  Band  Dance" 
261 


NEGRO  FOLK  RHYMES 

just  given  has  caused  me  to  believe  that  Dance 
Rhyme  Songs  were  probably  evolved  from  Dance 
Rhymes  pure  and  simple,  through  individuals  put- 
ting melodies  to  these  Dance  Rhymes. 

As  Dance  Rhymes  came  from  the  dance,  so  like- 
wise Play  Rhymes  came  from  plays.  I  shall  now 
discuss  the  one  found  in  our  collection  under  the 
caption — "Goosie-gander."  Since  the  Play  has  prob- 
ably passed  from  the  memory  of  most  persons,  I  shall 
tell  how  it  was  played.  The  children  (and  some- 
times those  in  their  teens)  sat  in  a  circle.  One  in- 
dividual, the  leader,  walked  inside  the  circle,  from 
child  to  child,  and  said  to  each  in  turn,  "Goosie- 
gander."  If  the  child  answered  "Goose,"  the  leader 
said,  "I  turn  your  ears  loose,"  and  went  on  to  the 
next  child.  If  he  answered  "Gander,"  the  leader 
said,  "I  pull  yo'  years  'way  yander."  Then  ensued 
a  scuffle  between  the  two  children;  each  trying  to 
pull  the  other's  ears.  The  fun  for  the  circle  came 
from  watching  the  scuffle.  Finally  the  child  who  got 
his  ears  pulled  took  his  place  in  the  circle,  leaving  the 
victor  as  master  of  ceremonies  to  call  out  the  chal- 
lenge "Goosie-gander!"  The  whole  idea  of  the  play 
is  borrowed  from  the  fighting  of  the  ganders  of  a 
flock  of  geese  for  their  mates.  Many  other  plays 
were  likewise  borrowed  from  Nature.  Examples  are 
262 


NEGRO  FOLK  RHYMES 

found  in  "Hawk  and  Chickens  Play,"  and  "Fox 
and  Geese  Play."  "Caught  by  a  Witch  Play"  is 
borrowed  from  superstition.  But  to  return  to 
"Goosie-gander" — most  children  of  our  childhood 
days  played  it,  using  common  prose  in  the  calls,  and 
answers  just  as  we  have  here  described  it.  A  few 
children  here  and  there  so  gave  their  calls  and  re- 
sponses as  to  rhyme  them  into  a  kind  of  a  little  poem 
as  it  is  recorded  in  our  collection.  Without  further 
argument,  I  think  it  can  hardly  be  doubted  that  the 
whole  thing  began  as  a  simple  prose  call,  and  re- 
sponse, and  that  some  child  inclined  to  rhyming 
things,  started  "to  do  the  rest,"  and  was  assisted  in 
accomplishing  the  task  by  other  children  equally  or 
more  gifted.  This  reasonably  accounts  for  the 
origin  of  the  Play  Rhyme. 

Now  what  of  the  Play  Rhyme  Songs?  There 
were  many  more  Play  Rhyme  Songs  than  Play 
Rhymes.  There  were  some  of  the  Play  Rhyme 
Songs  sung  in  prose  version  by  some  children  and 
the  same  Play  Song  would  be  sung  in  rhymed  ver- 
sion by  other  children.  Likewise  the  identical 
Play  Song  would  not  be  sung  at  all  by  other  chil- 
dren; they  would  simply  repeat  the  words  as  in  the 
case  of  the  Rhyme  "Goosie-gander,"  just  discussed. 
The  little  Play  Song  found  in  our  collection  under 

263 


NEGRO  FOLK  RHYMES 

the  caption,  "Did  You  Feed  My  Cow?"  is  one  which 
was  current  in  my  childhood  in  the  many  versions 
as  just  indicated.  The  general  thought  in  the  story 
of  the  Rhyme  was  the  same  in  all  versions  whether 
prose  or  rhyme,  or  song.  In  cases  where  children 
repeated  it  instead  of  singing  it,  it  was  generally  in 
prose  and  the  questions  were  so  framed  by  the  leader 
that  all  the  general  responses  by  the  crowd  were 
"Yes,  Ma'am!"  Where  it  was  sung,  it  was  invari- 
ably rhymed;  and  the  version  found  in  this  collec- 
tion was  about  the  usual  one. 

The  main  point  in  the  discussion  at  this  juncture 
is — that  there  were  large  numbers  of  Play  Songs 
like  this  one  found  in  the  transition  stage  from  plain 
prose  to  repeated  rhyme,  and  to  sung  rhyme.  Such 
a  status  leaves  little  doubt  that  the  Play  Song  trav- 
elled this  general  road  in  its  process  of  evolution. 

I  might  take  up  the  Courtship  Rhymes,  and  show 
that  they  are  derivatives  of  Courtship,  and  so  on  to 
the  end  of  all  the  classes  given  in  my  outline,  but 
since  the  evidences  and  arguments  in  all  the  cases  are 
essentially  the  same  I  deem  it  unnecessary. 

I  now  turn  attention  to  a  peculiar  general  ideal  in 
Form  found  in  Negro  Folk  Rhymes.  It  probably  is 
not  generally  known  that  the  Negroes,  who  emerged 
from  the  House  of  Bondage  in  the  6o's  of  the  last 

264 


NEGRO  FOLK  RHYMES 

century,  had  themselves  given  a  name  to  their  own 
peculiar  form  of  verse.  If  it  be  known  I  am  rather 
confident  that  it  has  never  been  written.  They 
named  the  parts  of  their  verse  "Call,"  and  (Re) 
"Sponse."  After  explaining  what  is  meant  by  "call" 
and  "sponse,"  I  shall  submit  an  evidence  on  the  mat- 
ter. In  its  simplest  form  "call"  and  "sponse"  were 
what  we  would  call  in  Caucasian  music,  solo  and 
chorus.  As  an  example,  in  the  little  Play  Song  used 
in  our  illustration  of  Play  Songs,  "Did  You  Feed 
My  Cow  ?"  was  sung  as  a  solo  and  was  known  as  the 
"Call,"  while  the  chorus  that  answered  "Yes, 
Ma'am"  was  known  as  the  "Sponse." 

I  now  beg  to  offer  testimony  in  corroboration  of 
my  assertion  that  Negroes  had  named  their  Rhyme 
parts  "Call"  and  "Sponse."  So  well  were  these 
established  parts  of  a  Negro  Rhyme  recognized 
among  Negroes  that  the  whole  turning  point  of  one 
of  their  best  stories  was  based  upon  it.  I  have  ref- 
erence to  the  Negro  story  recorded  by  Mr.  Joel 
Chandler  Harris  in  his  "Nights  with  Uncle  Remus," 
under  the  caption,  "Brother  Fox,  Brother  Rabbit, 
and  King  Deer's  Daughter."  Those  who  would 
enjoy  the  story,  as  the  writel  did  in  his  childhood 
days,  as  it  fell  from  the  lips  of  Irs  dear  little  friends 
and  dusky  playmates,  will  read  the  story  in  Mr. 

265 


NEGRO  FOLK  RHYMES 

Harris'  book.  The  gist  of  the  story  is  as  follows: 
The  fox  and  the  rabbit  fall  in  love  with  King  Deer's 
daughter.  The  fox  has  just  about  become  the  suc- 
cessful suitor,  when  the  rabbit  goes  through  King 
Deer's  lot  and  kills  some  of  King  Deer's  goats.  He 
then  goes  to  King  Deer,  and  tells  him  that  the  fox 
killed  the  goats,  and  offers  to  make  the  fox  admit 
the  deed  in  King  Deer's  hearing.  This  being  agreed 
to,  the  rabbit  goes  to  find  the  fox,  and  proposes  that 
they  serenade  the  King  Deer  family.  The  fox 
agreed.  Then  the  rabbit  proposes  that  he  sing  the 
"Call"  and  that  the  fox  sing  the  "Sponse"  (or,  as 
Mr.  Harris  records  the  story,  the  "answer"),  and 
this  too  was  agreed  upon.  We  now  quote  from  Mr. 
Harris: 

"Ole  Br'er  Rabbit,  he  make  up  de  song  he  own 
se'f  en'  he  fix  it  so  that  he  sing  de  Call  lak  de  Cap- 
tain er  de  co'n-pile,  en  ole  Br'er  Fox,  he  hatter  sing 
de  answer"  .  .  .  "Ole  Br'er  Rabbit,  he  got  de  call 
en  he  open  up  lak  dis : 

;<  'Some  folks  pile  up  mo'n  dey  kin  tote, 

En  dat  w'at  de  matter  wid  King  Deer's  goat.' 

en  den  Br'er  Fox,  he  make  answer,  'Dat's  so,  dat's 

so,  en  I'm  glad  dat  it's  so.'    Den  de  quills,  and  de 

266 


NEGRO  FOLK  RHYMES 

tr 'angle,  dey  come  in,  en  den  Br'er  Rabbit  pursue  on 
wid  de  call — 

"  'Some  kill  sheep,  en  some  kill  shote, 
But  Br'er  Fox  kill  King  Deer  goat,' 

en  den  Br'er  Fox,  he  jine  in  wid  de  answer,  'I  did,  I 
did,  en  I'm  glad  dat  I  did.'  " 

The  writer  would  add  that  the  story  ends  with  a 
statement  that  King  Deer  came  out  with  his  walking 
cane,  and  beat  the  fox,  and  then  invited  the  rabbit  in 
to  eat  chicken  pie. 

From  the  foregoing  one  will  recognize  the  nam- 
ing, by  the  Negroes  themselves,  of  the  parts  of  their 
rhymed  song,  as  "call,"  and  "answer."  Now  just  a 
word  concerning  the  term  "answer,"  instead  of 
"sponse,"  as  used  by  the  writer.  You  will  notice 
that  Mr.  Harris  records,  incidentally,  of  Br'er  Rab- 
bit "dat  he  sing  de  call,  lak  de  Captain  er  de  co'n 
pile."  This  has  reference  to  the  singing  of  the 
Negroes  at  corn  huskings  where  the  leader  sings  a 
kind  of  solo  part,  and  the  others  by  way  of  response, 
sing  a  kind  of  chorus.  At  corn  huskings,  at  plays, 
and  elsewhere,  when  Negroes  sang  secular  songs, 
some  one  was  chosen  to  lead.  As  a  little  boy,  I  wit- 
nessed secular  singing  in  all  these  places.  When  a 
leader  was  chosen,  the  invariable  words  of  his  com- 

267 


ttEGRO  FOLK  RHYMES 

mission  were:  "You  sing  the  'call'  and  we'll  sing 
the  'sponse.' '''  Of  course  the  sentence  was  not  quite 
so  well  constructed  grammatically,  but  "call"  and 
"sponse"  were  the  terms  always  used.  This  being 
true,  I  have  felt  that  I  ought  to  use  these  terms, 
though  I  recognize  the  probability  of  there  being 
communities  where  the  word  answer  would  be  used. 
All  folk  terms  and  writings  have  different  versions. 

The  "sponses"  in  most  of  the  Negro  Folk  Rhymes 
in  our  collection  are  wanting,  and  the  Rhymes  them- 
selves, in  most  cases,  consist  of  calls  only.  As  ex- 
amples of  those  with  "sponses"  left,  may  be  men- 
tioned "Juba"  with  its  sponse  "Juba" ;  "Frog  Went 
A-courting,"  with  its  sponse  "Uh-huh !" ;  "Did  You 
Feed  My  Cow?"  with  its  sponse  "Yes,  Ma'am,"  etc., 
and  "The  Old  Black  Gnats,"  where  the  sponses  are 
"I  cain't  git  out'n  here,  etc." 

I  shall  now  endeavor  to  show  why  the  Negro 
Folk  Rhymes  consist  in  most  cases  of  "calls"  only, 
and  how  and  why  the  "sponses"  have  disappeared 
from  the  finished  product.  I  record  here  the  notes 
of  two  common  Negro  Play  Songs  along  with  sam- 
ple stanzas  used  in  the  singing  of  them.  I  hope 
through  a  little  study  of  these,  to  make  clear  the 
matter  of  Folk  Rhyme  development,  to  the  point  of 
dropping  the  "sponse." 

268 


P 


NEGRO  FOLK  RHYMES 
CALL..  ..  11  SPONSE. 


(a)  1.  Oh  now  swing   yo'    pard  -  nerl    Hoi  -    ly    Dunk  I 
2.  Oh  now  ring  round,  ring   round!  Hoi  •  ly*Dink! 

*  *  * 

(6)  1.    I     sho  loves  Miss    Don  -  ie,      Hoi  •  ly    Dink! 


CALL II  SPONSE. 


^>  ~r~  J       J       J        !     \~~r        F*      T — 

•*?     -^  '  * —  *—*—. w .J.. 

Oh  now  swing    yo'    pard  •  nerl    Hoi    -   ly    Dink! 

Oh  now  ring   round,  ring   round!  Hoi    -    ly    DinkI 

*  *  * 

Yes,     I        do,  Hoi    -  ly    Dink! 


(o)  1.  Hail  storm,  frost-y  night,  'Tain'tgwineter  rain  no  mo! 

2.  You  gw  ing  here,  'an  I'll  swing  dere,  '  Tain  't  gwineter  rain  no  mo  1 

*  *  * 

(6)  1.  My  ole  Mistess  promised  me  !  '  Tain  '  t  gwineter  ram  no  mo  1 

*  *  * 

(c)  1.  Hawk  an'  buzzard,  went  to  law!  'Tain't  gwineter  rain  no  mo! 
etc.                   etc.                   etc. 


*' 


Hail      storm,  frost  -  y  night,  'Tain't  gwineter  rain  no    mo! 
You  swing  here,  'an  I'll  swing  dere,  'Tain't  gwineter  rain  no  mo! 

*  *  * 

When  she  died,  she'd  set  me  free,  'Tain't  gwineter  rain  no    mo! 

*  *  * 

Hawk  come  back  ,  wid  a  broken  jaw,  'Tain't  gwineter  rain  no  mol 
etc.  etc.  etc. 

269 


NEGRO  FOLK  RHYMES 

These  simple  little  songs, — the  first  made  up  of 
five  notes,  and  the  second  of  seven, — are  typical 
Negro  Play  songs.  I  shall  not  describe  the  simple 
play  which  accompanied  them  because  that  descrip- 
tion would  not  add  to  the  knowledge  of  the  evolu- 
tion under  consideration. 

At  a  Negro  Evening  Entertainment  several  such 
songs  would  be  sung  and  played,  and  some  indi- 
vidual would  be  chosen  to  lead  or  sing  the  "calls"  of 
each  of  the  songs.  The  'sponses  in  some  cases  were 
meaningless  utterances,  like  "Holly  Dink,"  given 
in  the  first  song  recorded,  while  others  were  made  up 
of  some  sentence  like  "  'Tain't  Gwineter  Rain  No 
Mo'!"  found  in  the  second  song  given.  The 
"sponses"  were  not  expected  to  bear  a  special  con- 
tinuous relation  in  thought  to  the  "calls."  Indeed 
no  one  ever  thought  of  the  'sponses  as  conveyers  of 
thought,  whether  jumbled  syllables  or  sentences. 
The  songs  went  under  the  names  of  the  various 
sponses.  Thus  the  first  Play  Song  recorded  was 
known  as  "Holly  Dink,"  and  the  second  as  "  'Tain't 
Gwineter  Rain  No  Mo'." 

The  playing  and  singing  of  each  of  these  songs 

commonly  went  on  continuously  for  a  quarter  of 

an  hour  or  more.    This  being  the  case,  we  scarcely 

need  add  that  the  leader  of  the  Play  Song  had  both 

270 


NEGRO  FOLK  RHYMES 

his  memory  and  ingenuity  taxed  to  their  utmost,  in 
devising  enough  "calls"  to  last  through  so  long  a 
period  of  time  of  continuous  playing  and  singing. 
The  reader  will  notice  under  both  of  the  Play  Songs 
recorded,  that  I  have  written  under  "(a)"  two 
stanzas  of  prose  "calls."  I  would  convey  the  thought 
to  the  reader,  by  these  illustrations,  that  the  one 
singing  the  "calls"  was  at  liberty  to  use,  and  did 
use  any  prose  sentence  that  would  fit  in  with  the 
"call"  measures  of  the  song. 

Of  course  these  prose  "calls"  had  to  be  rhythmic 
to  fit  into  the  measures,  but  much  freedom  was  al- 
lowed in  respacing  the  time  allotted  to  notes,  and 
in  the  redivision  of  the  notes  in  the  "fitting  in" 
process.  Even  these  prose  stanzas  bore  the  mark 
of  Rhyme  to  the  Negro  fancy.  The  reader  will  no- 
tice that,  where  the  "call"  is  in  prose,  it  is  always 
repeated,  and  thus  the  line  in  fancy  rhymed  with 
itself.  Examples  as  found  in  our  Second  Play  Song : 

"Hail  storm,  frosty  night. 
Hail  storm,  frosty  night." 

Now,  it  was  considered  by  Negroes,  in  the  days  gone 
by,  something  of  an  accomplishment  for  a  leader  to 
be  able  to  sing  "calls,"  for  so  long  a  time,  when  they 
bore  some  meaning,  and  still  a  greater  accomplish- 
271 


NEGRO  FOLK  RHYMES 

ment  to  sing  the  calls  both  in  rhyme  and  with  mean- 
ing. This  led  each  individual  to  rhyme  his  calls  as 
far  as  possible  because  leaders  were  invited  to  lead 
songs  during  an  evening's  entertainment,  largely  in 
accordance  with  their  ability,  and  thus  those  desiring 
to  lead  were  compelled  to  make  attainment  in  both 
rhyme  and  meaning.  Now,  the  reader  will  notice 
under  "Holly  Dink,"  heading  "(b),"  "I  sho'  loves 
Miss  Donie."  This  is  a  part  of  the  opening  line  of 
our  Negro  Rhyme,  "Likes  and  Dislikes."  I  would 
convey  the  thought  to  the  reader  that  this  whole 
Rhyme,  and  any  other  Negro  Rhyme  which  would 
fit  into  a  2/4  music  measure,  could  be,  and  was  used 
by  the  Play  Song  leader  in  singing  the  calls  of 
"Holly  Dink."  Thus  a  leader  would  lead  such  a 
song;  and  by  using  one  whole  Rhyme  after 
another,  succeed  in  rhyming  the  calls  for  a 
quarter  of  an  hour.  If  his  Rhymes  "gave 
out,"  he  used  rhythmic  prose  calls;  and  since 
these  did  not  need  to  have  meaning,  his  store  was  un- 
limited. Just  as  any  Rhyme  \vhich  could  be  fitted 
into  a  2/4  music  measure  would  be  used  with  "Holly 
Dink,"  so  any  Rhyme  which  could  be  fitted  into  a 
4/4  measure  would  be  used  with  the  "  'Tain't 
Gwineter  Rain  No  Mo'."  Illustrations  given  under 
"(b)"  and  "(c)"  under  the  last  mentioned  song  are 
272 


NEGRO  FOLK  RHYMES 

— "Promises  of  Freedom,"  and  "Hawk  and  Buz- 
zard." 

Since  all  Negro  Songs  with  a  few  exceptions 
were  written  in  4/4  measures  and  2/4  measures,  and 
Negro  rhymed  "calls"  were  also  written  in  the  same 
way,  the  rhymed  "calls"  which  may  have  originated 
with  one  song  were  transferred  to,  and  used  with 
other  songs.  Thus  the  rhymed  "calls'  becoming 
detached  for  use  with  any  and  all  songs  into  which 
they  could  be  fitted,  gave  rise  to  the  multitude  of 
Negro  Folk  Rhymes,  a  small  fragment  of  which 
multitude  is  recorded  in  our  collection.  Negro 
Dances  and  Dance  Rhymes  were  both  constructed  in 
2/4  and  4/4  measures,  and  the  Rhymes  were  propa- 
gated for  that  same  reason.  Rhymes,  once  detached 
from  their  original  song  or  dance,  were  learned,  and 
often  repeated  for  mere  pastime,  and  thus  they  were 
transmitted  to  others  as  unit  compositions. 

We  have  now  seen  how  detached  rhymed  "calls" 
made  our  Negro  Folk  Rhymes.  Next  let  us  con- 
sider how  and  why  whole  little  "poems"  arose  in  a 
Play  Song.  One  will  notice  in  reading  Negro  Folk 
Rhymes  that  the  larger  number  of  them  tell  a  little 
story  or  give  some  little  comic  description,  or  some 
little  striking  thought.  Since  all  the  Rhymes  had  to 
be  memorized  to  insure  their  continued  existence, 
273 


NEGRO  FOLK  RHYMES 

and  since  Memory  works  largely  through  Associa- 
tion ;  one  readily  sees  that  the  putting  of  the  Rhymes 
into  a  story,  descriptive,  or  striking  thought  form, 
was  the  only  thing  that  could  cause  their  being  kept 
alive.  It  was  only  through  their  being  composed 
thus  that  Association  was  able  to  assist  Memory 
in  recalling  them.  Those  carrying  another  form 
carried  their  death  warrant. 

Now  let  us  look  a  little  more  intimately  into  how 
the  Rhymes  were  probably  composed.  In  collecting 
them,  I  often  had  the  same  Rhyme  given  to  me 
over  and  over  again  by  different  individuals.  Most 
of  the  Rhymes  were  given  by  different  individuals 
in  fragmentary  form.  In  case  of  all  the  Rhymes 
thus  received,  there  would  always  be  a  half  stanza, 
or  a  whole  stanza  which  all  contributors'  versions 
held  in  common.  As  examples:  in  "Promises  of 
Freedom,"  all  contributors  gave  the  lines — 

"My  ole  Mistiss  promise  me 
Wen  she  died,  she'd  set  me  free." 

In  "She  Hugged  Me  and  Kissed  Me,"  the  second 
stanza  was  given  by  all.  In  "Old  Man  Know-All," 
the  first  two  lines  of  the  last  stanza  came  from  all 
who  gave  the  Rhyme.  The  writer  terms  these  parts 
of  the  individual  Rhymes,  seemingly  known  to  all 
274 


NEGRO  FOLK  RHYMES 

who  know  the  "poems,"  key  verses.  The  very  fact 
that  the  key  verses,  only,  are  known  to  all,  seems  to 
me  to  warrant  the  conclusion  that  these  were  prob- 
ably the  first  verses  made  in  each  individual  Rhyme. 
Now  when  an  individual  made  such  a  key  verse,  one 
can  easily  see  that  various  singers  of  "calls"  using 
it  would  attempt  to  associate  other  verses  of  their 
own  making  with  it  in  order  to  remember  them  all 
for  their  long  "singing  Bees."  The  story,  the  de- 
scription, and  the  striking  thought  furnished  con- 
venient vehicles  for  this  association  of  verses,  so 
as  to  make  them  easy  to  keep  in  memory.  This  is 
why  the  verses  of  many  singers  of  "Calls"  finally 
became  blended  into  little  poem-like  Rhymes. 

I  have  pointed  out  "call"  and  "sponse,"  in 
Rhymes,  and  have  shown  how,  through  them,  in 
song,  the  form  of  the  Negro  Rhyme  came  into  ex- 
istence. But  many  of  the  Pastime  Rhymes  ap- 
parently had  no  connection  with  the  Play  or  the 
Dance.  I  must  now  endeavor  to  account  for  such 
Rhymes  as  these. 

In  order  to  do  this,  I  must  enter  upon  the  task  of 
trying  to  show  how  "call"  and  "sponse"  originated. 

The  origin  of  "call"  and  "sponse"  is  plainly  writ- 
ten on  the  faces  of  the  rhymes  of  the  Social  Instinct 
type.  Read  once  again  the  following  rhyme  re- 
275 


NEGRO  FOLK  RHYMES 

corded  in  our  collection  under  the  caption  of  "Ante- 
bellum Courtship  Inquiry" — 

(He) — "Is  you  a  flyin'  lark,  or  a  settin'  dove?" 
(She)—  "Fse  a  flyin'  lark,  my  Honey  Love." 
(He) — "Is  you  a  bird  o'  one  fedder,  or  a  bird  o' 

two?" 
(She) — "I'se  a  bird  o'  one  fedder,  w'en  it  comes  to 

you." 
(He)— "Den  Mam: 

"I  has  desire  an'  quick  temptation 
To  jine  my  fence  to  yo'  plantation." 

This  is  primitive  courtship ;  direct,  quick,  conclusive. 
It  is  the  crude  call  of  one  heart,  and  the  crude 
response  of  another  heart.  The  two  answering  and 
blending  into  one,  in  the  primitive  days,  made  a 
rhymed  couplet — one.  It  is  "call"  and  "sponse," 
born  to  vibrate  in  complementary  unison  with  two 
hearts  that  beat  as  one.  "Did  all  Negroes  carry  on 
courtship  in  this  manner  in  olden  days?"  No,  not 
by  any  means.  Only  the  more  primitive  by  custom, 
and  otherwise  used  such  forms  of  courtship.  The 
more  intelligent  of  those  who  came  out  of  slavery 
had  made  the  white  man's  customs  their  own,  and 
laughed  at  such  crudities,  quite  as  much  as  we  of 
the  present  day.  The  writer  thinks  his  ability  to 
276 


NEGRO  FOLK  RHYMES 

recall  from  childhood  days  a  clear  remembrance  of 
many  of  these  crude  things  is  due  to  the  fact  that  he 
belonged  to  a  Negro  family  that  laughed  much, 
early  and  late,  at  such  things.  But  the  simple  forms! 
of  "call"  and  "sponse"  were  used  much  in  courtship 
by  the  more  primitive.  This  points  out  something  of 
the  general  origin  of  "call"  and  "sponse"  in  Social 
Instinct  Rhymes,  but  does  not  account  for  their 
origin  in  other  types  of  Rhymes.  I  now  turn  atten- 
tion to  those. 

About  eighteen  years  ago  I  was  making  a  So- 
ciological investigation  for  Tuskegee  Institute, 
which  carried  me  into  a  remote  rural  district  in  the 
Black  Belt  of  Alabama.  In  the  afternoon,  when 
the  Negro  laborers  were  going  home  from  the  fields 
and  occasionally  during  the  day,  these  laborers  on 
one  plantation  would  utter  loud  musical  "calls" 
and  the  "calls"  would  be  answered  by  musical  re- 
sponses from  the  laborers  on  other  plantations. 
These  calls  and  responses  had  no  peculiar  signifi- 
cance. They  were  only  for  whatever  pleasure  these 
Negroes  found  in  the  cries  and  apparently  might  be 
placed  in  a  parallel  column  alongside  of  the  call  of  a 
song  bird  in  the  woods  being  answered  by  another. 
Dr.  William  H.  Sheppard,  many  years  a  missionary 
in  Congo,  Africa,  upon  inquiry,  tells  me  that  similar 
277 


NEGRO  FOLK  RHYMES 

calls  and  responses  obtain  there,  though  not  so 
musical.  He  also  tells  me  that  the  calls  have  a  mean- 
ing there.  There  are  calls  and  responses  for  those 
lost  in  the  forest,  for  fire,  for  the  approach  of  ene- 
mies, etc.  These  Alabama  Negro  calls,  however, 
had  no  meaning,  and  yet  the  calls  and  responses  so 
fitted  into  each  other  as  to  make  a  little  complete 
tune. 

Now,  I  had  heard  "field"  calls  all  during  my 
early  childhood  in  Tennessee,  and  these  also  were 
answered  by  men  in  adjoining  fields.  But  the  Ten- 
nessee calls  and  responses  which  I  remembered  had 
no  kinship  which  would  combine  them  into  a  kind 
of  little  completed  song  as  was  the  case  with  the 
Alabama  calls  and  responses. 

Again,  in  Tennessee  when  a  musical  call  was  ut- 
tered by  the  laborers  in  one  field,  those  in  the  other 
fields  around  would  often  use  identically  the  same 
call  as  a  response.  The  Alabama  calls  and  responses 
were  short,  while  those  of  Tennessee  were  long. 

I  am  listing  an  Alabama  "call"  and  "response." 
I  regret  that  I  cannot  recall  more  of  them.  I  am 
also  recording  three  Tennessee  calls  or  responses 
(for  they  may  be  called  either).  Then  I  am  record- 
ing a  fourth  one  from  Tennessee,  not  exactly  a  call, 
but  partly  call  and  partly  song.  The  reason  for 

278 


NEGRO  FOLK  RHYMES 

this  will  appear  later.  By  a  study  of  these  I  think 
we  can  pretty  reasonably  make  a  final  interesting 
deduction  as  to  the  general  origin  of  "call"  and 
"sponse"  in  the  form  of  the  types  of  Rhyme  not 
already  discussed. 

In  the  Alabama  Field  Call  and  response  one  can- 
not help  seeing  a  counterpart  in  music  of  the  "call" 
and  "sponse"  in  the  words  of  the  types  of  Rhymes 
already  discussed. 

ALABAMA  FIELD  CALL  AND  RESPONSE 
CALL.. 


Ah    ah ! 


1. 


TENNESSEE   FIELD    CALLS    OR   RESPONSES 
CALL(?) 

iii"T     ^^^^^^^^^^ 


Hoo    wee     hoo     wee     hoo     wee        hool 


Hoo      wee 


wee      hoo     wee 
279 


hoo! 


NEGRO  FOLK  RHYMES 
CALL(?) n 

Ah     ah....       ah        ah ah! 

RESPONSE(?) 

rgizHTj-*-- {ii-jJTj i T~n=*u    *  /rrf=f=il 
:f -  «*=*=     **^^^=*-^±\±^ 

Ah      ah   ah  ah...     ah.,     ah  ah    ah    ah...     ah!.. 
CALL(?) n 

Ah      ah      ah       ah          ah     ah      ah      ah 

(Sometimes)  I  wants  a  piece  a  hoecake  I  wants  a  piece  o'  bread. 

EESPONSE(?) 

I^T  i  kj r  t=£  iEjT7^fc^^UJ-=a 

Ah       ah       ah        ah ah     ah ah! 

Well    Ise  so  tired  an'  hongry  dat  Ise   almos'      dead. 


1.  Ole     Bil  -  ly  Baw  -  lie    "Eh      hoo    hoo   wee!" 

2.  I      hears  you  hoi  -  ler  "Eh      hoo    hoo  wee!" 


Ole     Bil-ly     Baw-lie      "Eh  hoo  wee    hoo!" 
I     bears  you    hoi  -  ler     "Eh  hoo  wee    hoo!" 


280 


NEGRO  FOLK  RHYMES 

If  one  looks  at  Number  i  under  the  Tennessee 
calls  or  responses,  there  is  nothing  to  indicate  espe- 
cially that  it  was  ever  other  than  the  whole  as  it  is 
here  written.  But  when  he  looks  at  Number  2  un- 
der Tennessee  calls  or  responses  he  is  struck  with 
the  remarkable  fact  that  it  changes  right  in  the 
midst  from  the  rhythm  of  the  9/8  measure  to  that  of 
the  6/8  measure.  Now  if  there  be  any  one  char- 
acteristic which  is  constant  in  Negro  music  it  is  that 
the  rhythm  remains  the  same  throughout  a  given 
production.  In  a  very,  very  few  long  Negro  produc- 
tions I  have  known  an  occasional  change  in  the  time, 
but  never  in  a  musical  production  consisting  of  a 
few  measures.  The  only  reasonable  explanation  to 
be  offered  for  the  break  in  the  time  of  Number  2,  as 
a  Negro  production,  is  that  it  was  originally  a  "call" 
and  "response";  the  "call"  being  in  a  9/8  measure 
and  the  "response"  being  in  a  6/8  measure.  Here 
then  we  have  "call"  and  "sponse."  It  would  look  as 
if  the  Negroes  in  Tennessee  had  combined  the 
"calls"  and  "sponses"  into  one  and  had  used  them  as 
a  whole.  When  we  accept  this  view  all  the  differ- 
ences, between  the  Alabama  and  Tennessee  produc- 
tions, before  mentioned  are  accounted  for.  Then 
looking  again  at  Number  i  under  Tennessee  calls 
or  responses,  one  sees  that  it  would  conveniently 
281 


NEGRO  FOLK  RHYMES 

divide  right  in  the  middle  to  make  a  "call"  and 
"sponse."  Now  look  at  Number  3  under  Tennessee 
calls.  It  was  usually  cried  off  with  the  syllable  ah 
and  would  easily  divide  in  the  middle.  I  remember 
this  "call"  very  distinctly  from  my  childhood  because 
the  men  giving  it  placed  the  thumb  upon  the  larynx 
and  made  it  vibrate  longitudinally  while  uttering  the 
cry.  The  thumb  thus  used  produced  a  peculiar 
screeching  and  rattling  tone  that  hardly  sounded 
human.  But  the  words  "I  want  a  piece  of  hoecake, 
etc.,"  as  recorded  under  the  "call,"  were  often 
rhymed  off  in  song  with  it.  Thus  we  trace  the 
form  of  "call"  and  "sponse"  from  the  friendly  mu- 
sical greeting  between  laborers  at  a  distance  to  the 
place  of  the  formation  of  a  crude  Rhyme  to  go  with 
it.  I  would  have  the  reader  notice  that  these  words 
finally  supplied  were  in  "call"  and  "sponse"  form. 
The  idea  is  that  one  individual  says:  "I  want  a 
piece  of  hoecake,  I  want  a  piece  o'  bread,"  and  an- 
other chimes  in  by  way  of  response:  "Well,  I'se  so 
tired  and  hongry  dat  I'se  almos'  dead." 

"Ole  Billie  Bawlie"  found  as  Number  4  was  a 
little  song  which  was  used  to  deride  men  who  had 
little  ability  musically  to  intonate  "calls"  and 
"sponses."  The  name  "Bawlie"  was  applied  to  em- 
phasize that  the  individual  bawled  instead  of  sound- 
282 


NEGRO  FOLK  RHYMES 

ing  pleasant  notes.  It  is  of  interest  to  us  because  it 
is  a  mixture  of  Rhyme  and  Field  "call"  and  com- 
pletes the  connecting  links  along  the  line  of  Evolu- 
tion between  the  "call"  and  "sponse"  and  the 
Rhyme. 

Wherever  one  thing  is  derived  from  another  by 
process  of  Evolution,  there  is  the  well  known  biologi- 
cal law  that  there  ought  to  be  every  grade  of  con- 
necting link  between  the  original  and  the  last  evolved 
product.  The  law  holds  good  here  in  our  Rhymes. 
If  this  last  statement  holds  good  then  the  law  must 
be  universal.  May  we  be  permitted  to  digress 
enough  to  show  that  the  law  is  universal  because, 
though  it  is  a  law  whose  biological  phase  has  been 
long  recognized,  not  much  attention  has  been  paid  to 
it  in  other  fields. 

It  holds  good  in  the  world  of  inanimate  matter. 
There  are  three  general  classes  of  chemical  com- 
pounds: Acids,  bases,  and  salts.  But  along  with 
these  three  general  classes  are  found  all  kinds  of 
connecting  links:  Acid  salts,  basic  salts,  hydroxy 
acids,  etc. 

It  holds  good  in  the  animal  and  plant  worlds. 
Looking  at  the  ancestors  of  the  horse  in  geological 
history  we  find  that  the  first  kind  of  horse  to  ap- 
pear upon  the  earth  was  the  CEohippus.  He  had 

23.? 


NEGRO  FOLK  RHYMES 

four  toes  on  the  hind  foot  and  three  on  the  front 
one.  Through  a  long  period  of  development,  the 
present  day  one-toed  horse  descended  from  this 
many-toed  primitive  horse.  There  is  certainty  of  the 
line  of  descent  of  the  horse  because  all  the  connect- 
ing links  have  been  discovered  in  fossil  form,  be- 
tween the  primitive  horse  and  the  present  day  horse. 
Plants  in  like  manner  show  all  kinds  of  connecting 
links. 

The  law  holds  sway  in  the  world  of  language; 
and  that  is  the  world  with  which  we  are  concerned 
here.  The  state  of  Louisiana  once  belonged  to  the 
French;  now  it  belongs  to  an  English-speaking  peo- 
ple. If  one  goes  among  the  Creoles  in  Louisiana  he 
will  find  a  very  few  who  speak  almost  Parisian 
French  and  very  poor  English.  Then  he  will  find  a 
very  large  number  who  speak  a  pure  English  and  a 
very  poor  French.  Between  these  classes  he  will 
find  those  speaking  all  grades  of  French  and  English. 
These  last  mentioned  are  the  connecting  links,  and 
the  connecting  links  bespeak  a  line  of  evolution 
where  those  of  French  descent  are  gradually  passing 
over  to  a  class  which  will  finally  speak  the  English 
language  exclusively. 

Now  let  us  turn  our  attention  again  directly  to 
the  discussion  of  the  evolution  of  Negro  Folk 
284 


NEGRO  FOLK  RHYMES 

Rhymes.  One  can  judge  whether  or  not  he  has  dis- 
covered the  correct  line  of  descent  of  the  Rhymes 
by  seeing  whether  or  not  he  has  all  the  connecting 
links  requisite  to  the  line  of  evolution.  I  think  it 
must  be  agreed  that  I  have  given  every  type  of  con- 
necting link  between  common  Field  "calls"  and 
"sponses,"  and  incipient  crude  Negro  Rhymes.  They 
set  the  mold  for  the  other  general  Negro  Rhymes 
not  hitherto  discussed. 

If  the  reader  will  be  kind  enough  to  apply  the 
test  of  connecting  links  to  the  Play  and  other 
Rhymes  already  discussed,  he  will  find  that  the  reac- 
tions will  indicate  that  we  have  traced  their  correct 
lines  of  origin  and  descent. 

The  spirit  of  "call"  and  "sponse"  hovers  ghost- 
like over  the  very  thought  of  many  Negro  Rhymes. 
In  "Jaybird,"  the  first  two  lines  of  each  stanza  are  a 
call  in  thought,  while  the  last  two  lines  are  a 
"sponse"  in  thought  to  it.  The  same  is  true  of 
"He  Is  My  Horse,"  "Stand  Back,  Black  Man," 
"Bob-White's  Song,"  "Promises  of  Freedom,"  "The 
Town  and  the  Country  Bird,"  and  many  others. 

Then  "call"  and  "sponse"  looms  up  in  the  midst 

in   thought   between   stanza   and   stanza   in   many 

Rhymes.    Good  examples  are  found  in  "The  Great 

Owl's  Song,"  "Sheep  and  Goat,"  "The  Snail's  Re- 

285 


NEGRO  FOLK  RHYMES 

ply,"  "Let's  Marry— Courtship,"  "Shoo!  Shoo!" 
"When  I  Go  to  Marry,"  and  many  others. 

"Call"  and  "sponse"  even  runs,  at  least  in  one 
case,  between  whole  Rhymes.  "I  Wouldn't  Marry  a 
Black  Girl"  as  a  "call"  has  for  its  "sponse":  "I 
Wouldn't  Marry  a  Yellow  or  a  White  Negro  Girl." 
The  Rhyme  "I'd  Rather  Be  a  Negro  Than  a  Poor 
White  Man"  is  a  "sponse"  to  an  imaginary  "call" 
that  the  Negro  is  inferior  by  nature. 

After  some  consideration,  as  compiler  of  the  Ne- 
gro Rhymes,  I  thought  I  ought  to  say  something 
of  their  rhyming  system,  but  before  doing  this  I 
want  to  consider  for  a  little  the  general  structure 
of  a  stanza  in  Negro  Rhymes. 

Of  course  there  is  no  law,  but  the  number  of 
lines  in  a  stanza  of  English  poetry  is  commonly  a 
multiple  of  two.  The  large  majority  of  Negro 
Rhymes  follows  this  same  rule,  but,  even  in  case  of 
these,  the  lines  are  so  unsymmetrical  that  they  make 
but  the  faintest  approach  to  the  commonly  accepted 
standards.  Then  there  are  Rhymes  with  stanzas  of 
three  lines  and  there  are  those  with  five,  six,  and 
seven  lines.  This  is  because  the  imaginary  music 
measure  is  the  unit  of  measurement  instead  of  feet, 
and  the  stanzas  are  all  right  so  long  as  they  run  in 
consonance  with  the  laws  governing  music  measures 
286 


NEGRO  FOLK  RHYMES 

and  rhythm.  In  a  tune  like  "Old  Hundred"  com- 
monly used  in  churches  as  a  Doxology,  there  are 
four  divisions  in  the  music  corresponding  with  the 
four  lines  of  the  stanza.  Each  division  is  called,  in 
music,  a  Phrase.  Two  of  these  Phrases  make  a 
Phrase  Group  and  two  Phrase  Groups  make  a 
Period.  Now  when  one  moves  musically  through  a 
Phrase  Group  his  sense  of  rhythm  is  partially  satis- 
fled  and  when  he  has  moved  through  a  Period  the 
sense  of  Rhythm  is  entirely  satisfied. 

When  one  reads  the  three  line  stanzas  of  Negro 
Folk  Rhymes  he  passes  through  a  music  Period  and 
thus  the  stanza  satisfies  in  its  rhythm.  Example : 

"Bridle  up  er  rat, 
Saddle  up  er  cat, 
An'  han'  me  down  my  big  straw  hat." 

Here  the  first  two  lines  are  a  Phrase  each  and 
constitute  together  a  Phrase  Group.  The  third  line 
is  made  up  of  two  Phrases,  or  a  Phrase  Group  in 
itself.  Thus  this  third  line  along  with  the  first  two 
makes  a  Music  Period  and  the  whole  satisfies  our 
rhythmic  sense  though  the  lines  are  apparently  odd. 
In  all  Negro  Rhymes,  however  odd  in  number  and 
however  ragged  may  seem  the  lines,  the  music 


NEGRO  FOLK  RHYMES 

Phrases  and  Periods  are  there  in  such  symmetry  as  to 
satisfy  our  sense  of  rhythm. 

I  now  turn  attention  to  the  rhyming  of  the  lines 
in  Negro  verse.  The  ordinary  systems  of  rhyming  as 
set  forth  by  our  best  authors  will  take  in  most  Negro 
Rhymes.  Most  of  them  are  Adjacent  and  Inter- 
woven Rhymes.  There  are  five  systems  of  rhyming 
commonly  used  in  the  white  man's  poetry  but  the 
Negro  Rhyme  has  nine  systems.  Here  again  we  find 
a  parallelism,  as  in  case  of  music  scales,  etc.  Five 
in  each  system  are  the  same.  The  ordinary  com- 
monly accepted  systems  are : 

a]  Where  the  adjacent  lines  rhyme  by  twos.   We 
a J  call  it  "Adjacent  rhymes"  or  a  "Couplet." 


Where    the    alternating    lines    rhyme    we 
call  it  "Alternate"  or  "Interwoven  Rhyme." 


Where  lines   I   and  4,  and  2  and  3  rhyme 
[-  respectively  with  each  other.    This  is  called 
"Close  Rhyme." 

288 


NEGRO  FOLK  RHYMES 

Where  in  a  stanza  of  four  lines,  lines  2  and 
4  only  rhyme.  This  is  sometimes  also  called 
"Alternate  Rhyme." 


a  I  Where  in  a  stanza  of  four  lines  I,  2  and  4 
b  I"  rhyme.  This  is  called  "Interrupted  Rhyme." 
aj 

I  now  beg  to  offer  a  system  of  classification  in 
rhyming  which  will  include  all  Negro  Rhymes.  I 
shall  insert  the  ordinary  names  in  parenthesis  along 
with  the  new  names  wherever  the  system  coin- 
cides with  the  ordinary  system  for  white  men's 
Rhymes.  The  only  reason  for  not  using  the  old 
names  exclusively  in  these  places  is  that  nomencla- 
ture should  be  kept  consistent  in  any  proposed  clas- 
sification, so  far  as  that  is  possible. 

In  classifying  the  rhyming  of  the  lines  or  verses 
I  have  borrowed  terms  from  the  gem  world, 
partly  because  the  Negro  hails  from  Africa,  a  land 
of  gems;  and  partly  because  the  verses  bear  what- 
ever beauty  there  might  have  been  in  his  crude 
crystalized  thoughts  in  the  dark  days  of  his  enslave- 
ment. 

289 


NEGRO  FOLK  RHYMES 

I  present  herewith  the  outline  and  follow  it  with 
explanations : 


Class  Systems 

I  Rhythmic  Solitaire,     (a)   Rhythmic    measured 

lines 


II  Rhymed  Doublet 


III  Rhyming  Doublet 


IV  Rhymed  Cluster 


(a)  Regular      (Adjacent 

Rhyme) 

(b)  Divided       (Includes 

Close  Rhyme) 

(c)  Supplemented. 

"(a)   Regular       (Includes 
Alternate  Rhyme) 
(b)   Inverted       (Close 
Rhyme) 

(a)  Regular 

(b)  Divided     (Inter- 

rupted Rhyme) 

(c)  Supplemented 


/  a  Rhythmic     Solitaire,     Rhythmic     measured 
lines.     In  many  Rhymes  there  is  a  rhythmic  line 
dropped  in  here  and  there  that  doesn't  rhyme  with 
290 


NEGRO  FOLK  RHYMES 

any  other  line.  They  are  rhythmic  like  the  other 
lines  and  serve  equally  to  fill  out  the  music  Phrases 
and  Periods.  These  are  the  Rhythmic  Solitaires 
and  because  of  their  solitaire  nature  it  follows  that 
there  is  only  one  system.  Examples  are  found  in 
the  first  line  of  each  stanza  of  "Likes  and  Dislikes" ; 
in  the  second  line  of  each  stanza  of  "Old  Aunt 
Kate;"  in  lines  five  and  six  of  each  stanza  of  "I'll 
Wear  Me  a  Cotton  Dress,"  in  lines  three  and  four 
of  the  "Sweet  Pinks  Kissing  Song,"  etc.  The 
Rhythmic  Solitaires  do  not  seem  to  have  been 
largely  used  by  Negroes  for  whole  compositions. 
Only  one  whole  Rhyme  in  our  collection  is  writ- 
ten with  Rhythmic  Solitaires.  That  Rhyme  is: 
"Song  to  the  Runaway  Slave."  This  Rhyme  is  made 
up  of  blank  verse  as  measured  by  the  white  man's 
standard. 

//  a.  The  Regular  Rhymed  Doublet.  This  is 
the  same  as  our  common  Adjacent  Rhyme.  There 
are  large  numbers  of  Negro  Rhymes  which  belong 
to  this  system.  The  "Jaybird"  is  a  good  example. 

//  b.  The  Divided  Rhymed  Doublet.  It  in- 
cludes Close  Rhyme  and  there  are  many  of  this 
system.  In  ordinary  Close  Rhyme  one  set  of  rhym- 
ing lines  (two  in  number)  is  separated  by  two  inter- 
vening lines,  but  this  "Rhyming  Couplet"  in  Ne- 
291 


NEGRO  FOLK  RHYMES 

gro  Rhymes  may  be  separated  by  three  lines  as  in 
"Bought  Me  a  Wife,"  where  the  divided  doublet 
consists  of  lines  3  and  7.  Then  the  Divided  Rhymed 
Doublet  may  be  separated  by  only  one  line,  as  in 
"Good-by,  Wife,"  where  the  Doublet  is  found  in 
lines  5  and  7. 

//  c.  The  Supplemented  Rhymed  Doublet.  It 
is  illustrated  by  "Juba"  found  in  our  collection.  The 
words  "Juba!  Juba!"  found  following  the  second 
line  of  each  stanza,  are  the  supplement.  I  shall 
take  up  the  explanation  of  Supplemented  Rhyme  la- 
ter, since  the  explanation  goes  with  all  Supplemented 
Rhyme  and  not  with  the  Doublet  only.  I  consider 
the  Supplement  one  of  the  things  peculiarly  charac- 
teristic of  Negro  Rhyme.  The  following  stanza  il- 
lustrates such  a  Supplemented  Doublet: 

"Juba  jump !    Juba  sing ! 

Juba  cut  dat  Pidgeon's  Wing!    Juba!    Juba" 
Representing  such  a  rhyming  by  letters  we  have 

(a 

(a-x 

///.  The  Rhyming  Doublet.  It  is  generally  made 
up  of  two  consecutive  lines  not  rhyming  with  each 
other  but  so  constructed  that  one  of  the  lines  will 
rhyme  with  one  line  of  another  Doublet  similarly 
constructed  and  found  in  the  same  stanza. 
292 


NEGRO  FOLK  RHYMES 

///  a.  The  Regular  Rhyming  Doublet.  It  is  the 
same  as  our  common  interwoven  rhyme  and  is  very 
common  among  Negro  Rhymes.  There  is  one  pe- 
culiar Interwoven  Rhyme  found  in  our  collection ;  it 
is  "Watermelon  Preferred."  In  it  the  second  Rhym- 
ing Doublet  is  divided  by  a  kind  of  parenthetic 
Rhythmic  Solitaire. 

///  b.  The  Inverted  Rhyming  Doublet.  It  is  the 
same  as  our  ordinary  Close  Rhyme. 

The  writer  had  expected  to  find  the  Supplemented 
Rhyming  Doublet  among  Negro  Rhymes  but  pe- 
culiarly enough  it  does  not  seem  to  exist. 

IV  a.  The  Regular  Rhymed  Cluster.  It  con- 
sists of  three  consecutive  lines  in  the  same  stanza 
which  rhyme.  An  example  is  found  in  "Bridle  Up 
a  Rat,"  one  of  whose  stanzas  we  have  already 
quoted.  It  is  represented  by  the  lettering  (a 

(a 
(a 

IV.  b.  The    Divided   Rhymed   Cluster.      It   in- 
cludes ordinary  Interrupted  Rhyme — with  the  let- 
tering (a     An   example   is   found   in   the   Ebo   or 
(a     Guinea  Rhyme  "Tree  Frogs." 
(b 
(a 
But  in  Negro  Folk  Rhymes  two  lines  may  divide  the 

293 


NEGRO  FOLK  RHYMES 

Rhymed  Cluster  instead  of  one.    An  example  of  this 
is  found  in  "Animal   Fair,"  whose  rhyming  may 

(a 

be  represented  by  the  lettering  (a 

(b 
(b 
(a 

IV  c.  The  Supplemented  Rhymed  Clusters.  They 
are  well  represented  in  Negro  Rhymes.  Some  have 
a  single  supplement  as  in  "Negroes  Never  Die," 

(a 
whose  rhyming  is  lettered    (a 

(a-x 
Some  have  double  supplements  as  in  "Frog  Went  a- 

(a-x 
Courting"  whose  rhyming  is  lettered   (a 

(a-x 

Now  Negroes  did  not  retain,  permanently,  mean- 
ingless words  in  their  Rhymes.  The  Rhymes  them- 
selves were  "calls"  and  had  meaning.  The 
"sponses,"  such  as  "Holly  Dink,"  "Jing-Jang,"  "Oh, 
fare  you  well,"  "  'Tain't  gwineter  rain  no  more," 
etc.,  that  had  no  meaning,  died  year  after  year  and 
new  "sponses"  and  songs  came  into  existence. 

Let  us  see  what  these  permanently  retained  seem- 
ingly senseless  Supplements  mean. 
294 


NEGRO  FOLK  RHYMES 

In  "Frog  Went  a-Courting"  we  see  the  Sup- 
plement "uh-huh!  uh-huh!"  It  is  placed  in  the 
midst  to  keep  vividly  before  the  mind  of  the  listener 
the  ardent  singing  of  the  frog  in  Spring  during  his 
courtship  season,  while  we  hear  a  recounting  of 
his  adventures.  It  is  to  this  Simple  Rhyme  what 
stage  scenery  is  to  the  Shakespearian  play  or  the 
Wagnerian  opera.  It  seems  to  me  (however  crude 
his  verse)  that  the  Negro  has  here  suggested  some- 
thing new  to  the  field  of  poetry.  He  suggests  that, 
while  one  recounts  a  story  or  what  not,  he  could  to 
advantage  use  words  at  the  same  time  having  no 
bearing  on  the  story  to  depict  the  surroundings 
or  settings  of  the  production.  The  gifted  Negro 
poet,  Paul  Laurence  Dunbar,  has  used  the  supple- 
ment in  this  way  in  one  of  his  poems.  The  poem  is 
called  "A  Negro  Love  Song."  The  little  sentence, 
"Jump  back,  Honey,  jump  back,"  is  thrown  in,  in 
the  midst  and  at  the  end  of  each  stanza.  Explain- 
ing it,  the  following  is  written  by  a  friend,  at  the 
heading  of  this  poem : 

"During  the  World's  Fair  he  (Mr.  Dunbar) 
served  for  a  short  time  as  a  hotel  waiter.  When  the 
Negroes  were  not  busy  they  had  a  custom  of  con- 
gregating and  talking  about  their  sweethearts.  Then 
a  man  with  a  tray  would  come  along  and,  as  the 
295 


NEGRO  FOLK  RHYMES 

dining-room  was  frequently  crowded,  he  would  say 
when  in  need  of  passing  room,  'Jump  back,  Honey, 
jump  back.'  Out  of  the  commonplace  confidences, 
he  wove  the  musical  little  composition — 'A  Negro 
Love  Song.'  " 

Now,  this  line,  "Jump  back,  Honey,  jump  back," 
was  used  by  Mr.  Dunbar  to  recall  and  picture  before 
the  mind  the  scurrying  hotel  waiter  as  he  bragged 
to  his  fellows  of  his  sweetheart  and  told  his  tales 
of  adventure.  It  is  the  "stage  scenery"  method  used 
by  the  slave  Negro  verse  maker.  Mr.  Dunbar  uses 
this  style  also  in  "A  Lullaby,"  "Discovered,"  "Lil' 
Gal"  and  "A  Plea."  Whether  he  used  it  knowingly 
in  all  cases,  or  whether  he  instinctively  sang  in  the 
measured  strains  of  his  benighted  ancestors,  I  do 
not  know. 

The  Supplement  was  used  in  another  way  in  Ne- 
gro Folk  Dance  Rhymes.  I  have  already  explained 
how  the  Rhymes  were  used  in  a  general  way  in 
the  Dance.  Let  us  glance  at  the  Dance  Rhyme 
"Juba"  with  its  Supplement,  "Juba!  Juba!"  to  il- 
lustrate this  special  use  of  the  Supplement.  "Juba" 
itself  was  a  kind  of  dance  step.  Now  let  us  imag- 
ine two  dancers  in  a  circle  of  men  to  be  dancing 
while  the  following  lines  are  being  patted  and  re- 
peated : 

296 


NEGRO  FOLK  RHYMES 

"Juba  Circle,  raise  de  latch, 

Juba  dance  dat  Long  Dog  Scratch,  Juba !  Juba!" 


While  this  was  being  patted  and  repeated,  the 
dancers  within  the  circle  described  a  circle  with 
raised  foot  and  ended  doing  a  dance  step  called  "Dog 
Scratch."  Then  when  the  Supplement  "Juba! 
Juba!"  was  said  the  whole  circle  of  men  joined  in 
the  dance  step  "Juba"  for  a  few  moments.  Then 
the  next  stanza  would  be  repeated  and  patted  with 
the  same  general  order  of  procedure. 

The  Supplement,  then,  in  the  Dance  Rhyme  was 
used  as  the  signal  for  all  to  join  in  the  dance  for  a 
while  at  intervals  after  they  had  witnessed  the  fin- 
ished foot  movements  of  their  most  skilled  dancers. 

The  Supplement  was  used  in  a  third  way  in  Ne- 
gro Rhymes.  This  is  illustrated  by  the  Rhyme, 
"Anchor  Line"  where  the  Supplement  is  "Dinah." 
This  was  a  Play  Song  and  was  commonly  used  as 
such,  but  the  Negro  boy  often  sang  such  a  song  to 
his  sweetheart,  the  Negro  father  to  his  child,  etc. 
When  such  songs  were  sung  on  other  occasions  than 
the  Play,  the  name  of  the  person  to  whom  it  was 
being  sung  was  often  substituted  for  the  name  Dinah. 
Thus  it  would  be  sung 

297 


NEGRO  FOLK  RHYMES 
"Fse  gwine  out  on  de  Anchor  Line — Mary,"  etc. 

The  Supplement  then  seems  to  have  been  used  in 
some  cases  to  broaden  the  scope  of  direct  application 
of  the  Rhyme. 

The  last  use  of  the  Supplement  to  be  mentioned 
is  closely  related  in  its  nature  to  the  "stage  scenery" 
use  already  mentioned.  This  kind  of  Supplement 
is  used  to  depict  the  mental  condition  or  attitude  of 
an  individual  passing  through  the  experiences  being 
related.  Good  examples  are  found  in  "My  First 
and  My  Second  Wife"  where  we  have  the  Supple- 
ments, "Now  wusn't  I  sorrowful  in  mind,"  etc. ;  and 
in  "Stinky  Slave  Owners"  with  its  Supplements 
"Eh-Eh!"  "Sho-sho!"  etc. 

The  Negro  Rhymes  here  and  there  also  have  some 
kind  of  little  introductory  word  or  line  to  each 
stanza.  I  consider  this  also  something  peculiar  to 
Negro  Rhyme.  I  have  named  these  little  introduc- 
tory words  or  sentences  the  "Verse  Crown."  The 
are  receivers  into  which  verses  are  set  and  serve  as 
dividing  lines  in  the  production.  As  the  reader 
knows,  the  portion  of  the  ring  which  receives  the 
gems  and  sets  them  into  a  harmonious  whole  is 
called  the  "Crown."  Having  borrowed  the  terms 
Solitaire,  Doublet,  etc.,  for  the  verses,  the  name  for 
298 


NEGRO  FOLK  RHYMES 

these  introductory  words  and  lines  automatically  be- 
came "Verse  Crown." 

Just  as  I  have  figuratively  termed  the  Supplements 
in  one  place  "stage  scenery,"  so  I  may  with  equal 
propriety  term  the  "Verse  Crown"  the  "rise"  or  the 
"fall"  of  the  stage  curtain.  They  separate  the  lit- 
tle Acts  of  the  Rhymes  into  scenes.  As  an  example 
read  the  comic  little  Rhyme  "I  Walked  the  Roads." 
The  word  "Well"  to  the  first  stanza  marks  the  rais- 
ing of  the  curtain  and  we  see  the  ardent  Negro  boy 
lover  nonsensically  prattling  to  the  one  of  his  fancy 
about  everything  in  creation  until  he  is  so  tired  that 
he  can  scarcely  stand  erect.  The  curtain  drops  and 
rises  with  the  word  "Den."  In  this,  the  second 
scene,  he  finally  gets  around  to  the  point  where 
he  makes  all  manner  of  awkward  protestations  of 
love.  The  hearer  of  the  Rhyme  is  left  laughing, 
with  a  sort  of  satisfactory  feeling  that  possibly  he 
succeeded  in  his  suit  and  possibly  he  didn't.  Among 
the  many  examples  of  Rhymes  where  verse  crowns 
serve  as  curtains  to  divide  the  Acts  into  scenes  may 
be  mentioned  "I  Wish  I  Was  an  Apple,"  "Rejected 
by  Eliza  Jane,"  "Courtship,"  "Plaster,"  "The 
Newly  Weds,"  and  "Four  Runaway  Negroes." 

Though  the  stanzas  in  Negro  Rhymes  commonly 
have  just  one  kind  of  rhyming,  in  some  cases  as  many 
299 


NEGRO  FOLK  RHYMES 

as  three  of  the  systems  of  rhyming  are  found  in  one 
stanza.  I  venture  to  suggest  the  calling  of  those  with 
one  system  "Simple  Rhymed  Stanzas;"  those  with 
two,  "Complex  Rhymed  Stanzas;"  those  with  more 
than  two  "Complicated  Complex  Rhymed  Stanzas." 

I  next  call  attention  to  the  seeming  parodies  found 
occasionally  among  Negro  Rhymes.  The  words  of 
most  Negro  parodies  are  such  that  they  are  not  fit 
for  print.  We  have  recorded  three:  "He  Paid 
Me  Seven,"  Parody  on  "Now  I  Lay  Me  Down  to 
Sleep,"  and  Parody  on  "Reign,  Master  Jesus, 
Reign."  We  can  best  explain  the  nature  of  the  Ne- 
gro Parody  by  taking  that  beautiful  and  touching 
well-known  Jubilee  song,  "Steal  Away  to  Jesus"  and 
briefly  recounting  the  story  of  its  origin.  Its  his- 
tory is  well  known.  We  hope  the  reader  will  not  be 
disappointed  when  we  say  that  this  song  is  a  parody 
in  the  sense  in  which  Negroes  composed  and  used 
parodies. 

The  words  around  which  the  whole  song  ranges 
itself  are  "Steal  away  to  Jesus,  I  hain't  got  long  to 
stay  here."  Now  the  slave  Negroes  on  the  far  away 
plantations  of  the  South  occasionally  met  in  the  dead 
of  night  in  some  secluded  lonely  spot  for  a  religious 
meeting  even  when  they  had  been  forbidden  to  do 
so  by  their  masters.  So  they  made  up  this  song, 
300 


NEGRO  FOLK  RHYMES 

"Steal  away  to  Jesus,  I  hain't^ot  long  to  stay  here." 
Late  in  the  afternoons  when  the  slaves  on  any  plan- 
tation sang  it,  it  served  as  a  notice  to  slaves  on  other 
plantations  that  a  secret  religious  meeting  was  to  be 
held  that  night  at  the  place  formerly  mutually  agreed 
upon  for  meetings. 

Now  here  is  where  the  parody  comes  in  under  the 
Negro  standard:  To  the  slave  master  the  words 
meant  that  his  good,  obedient  slaves  were  only  study- 
ing how  to  be  good  and  to  get  along  peaceably,  be- 
cause they  considered,  after  all,  that  their  time  upon 
earth  was  short  and  not  of  much  consequence;  but 
to  the  listening  Negro  it  meant  both  a  notification 
of  a  meeting  and  slaves  disobedient  enough  to  go 
where  they  wanted  to  go.  To  the  listening  master 
it  meant  that  the  Negro  was  thinking  of  what  a  short 
time  it  would  be  before  he  would  die  and  leave  the 
earth,  but  to  the  listening  slaves  it  meant  that  he 
was  thinking  of  how  short  a  time  it  would  be  before 
he  left  the  cotton  field  for  a  pleasant  religious  meet- 
ing. All  these  meanings  were  truly  literally  present 
but  the  meaning  apparent  depended  upon  the  view- 
point of  the  listener.  It  was  composed  thus,  so  that 
if  the  master  suspected  the  viewpoint  of  the  slave 
hearers,  the  other  viewpoint,  intended  for  him,,  might 
be  held  out  in  strong  relief. 
301 


NEGRO  FOLK  RHYMES 

Now  let  us  consider  the  parodies  recorded  in  our 
Collection.  The  Parody  on  the  beautiful  little  child 
prayer,  "Now  I  lay  me  down  to  sleep"  is  but  the 
bitter  protest  from  the  heart  of  the  woman  who, 
after  putting  the  little  white  children  piously  re- 
peating this  child  prayer,  "Now  I  lay  me  down  to 
sleep,"  in  their  immaculate  beds,  herself  retired  to  a 
vermin  infested  cabin  with  no  time  left  for  cleaning 
it.  It  was  a  tirade  against  the  oppressor  but  the 
comic,  good-natured  "It  means  nothing"  was  there 
to  be  held  up  to  those  calling  the  one  repeating  it  to 
task.  The  parody  on  "Reign,  Master  Jesus, 
Reign!"  when  heard  by  the  Master  meant  only  a 
good  natured  jocular  appeal  to  him  for  plenty 
of  meat  and  bread,  but  with  the  Negro  it  was  a 
scathing  indictment  of  a  Christian  earthly  master 
who  muzzled  those  who  produced  the  food.  "He 
Paid  Me  Seven"  is  a  mock  at  the  white  man  for  fail- 
ing to  practice  his  own  religion  but  the  clown  mask 
is  there  to  be  held  up  for  safety  to  any  who  may  see 
the  real  side  and  take  offense. 

Slave  parodies,  then,  are  little  Rhymes  capable  of 
two  distinct  interpretations,  both  of  which  are  true. 
They  were  so  composed  that  if  a  slave  were  accused 
through  one  interpretation,  he  could  and  would 
truthfully  point  out  the  other  meaning  to  the  accuser 
and  thus  escape  serious  trouble. 
302 


NEGRO  FOLK  RHYMES 

Under  all  the  classes  of  Negro  Rhymes,  with  the 
exception  of  the  one  Marriage  Ceremony  Rhyme, 
there  were  those  which  were  sung  and  played  on  in- 
struments. Since  instrumental  music  called  into  ex- 
istence some  of  the  very  best  among  Negro  Rhymes 
it  seems  as  if  a  little  ought  to  be  said  concerning  the 
Negro's  instruments.  Banjos  and  fiddles  (violins) 
were  owned  only  limitedly  by  antebellum  Negroes. 
Those  who  owned  them  mastered  them  to  such  a  de- 
gree that  the  memory  of  their  skill  will  long  linger, 
These  instruments  are  familiar  and  need  no  discus- 
sion. 

Probably  the  Negro's  most  primitive  instrument, 
which  he  could  call  his  very  own,  was  "Quills."  It 
is  mentioned  in  the  story,  "Brother  Fox,  Brother 
Rabbit,  and  King  Deer's  Daughter"  which  I  have  al- 
ready quoted  at  some  length.  If  the  reader  will  no- 
tice in  this  story  he  will  see,  after  the  singing  of 
the  first  stanza  by  the  rabbit  and  fox,  a  description 
in  these  words,  "Den  de  quills  and  de  tr'angle,  dey 
come  in,  an'  den  Br'er  Rabbit  pursue  on  wid  de  call." 
Here  we  have  described  in  the  Negro's  own  way  the 
long  form  of  instrumental  music  composition  which 
we  have  hitherto  discussed,  and  "quills"  and 
"tr 'angles"  are  given  as  the  instruments. 

In  my  early  childhood  I  saw  many  sets  of 
"Quills."  They  were  short  reed  pipes,  closed  at  one 
303 


NEGRO  FOLK  RHYMES 

end,  made  from  cane  found  in  our  Southern  cane- 
brakes.  The  reed  pipes  were  made  closed  at  one  end 
by  being  so  cut  that  the  bottom  of  each  was  a  node  of 
the  cane.  These  pipes  were  "whittled"  square  with 
a  jack  knife  and  were  then  wedged  into  a  wooden 
frame,  and  the  player  blew  them  with  his  mouth. 
The  "quills,"  or  reed  pipes,  were  cut  of  such  gradu- 
ated lengths  that  they  constituted  the  Negro's  pe- 
culiar music  Scale.  The  music  intervals  though  ap- 
proximating those  of  the  Caucasian  scale  were  not 
the  same.  At  times,  when  in  a  reminiscent  humor, 
I  hum  to  myself  some  little  songs  of  my  childhood. 
On  occasions,  afterwards,  I  have  "picked  out"  some 
of  the  same  tunes  on  the  piano.  When  I  have  done 
this  I  have  always  felt  like  giving  its  production  on 
the  piano  the  same  greeting  that  I  gave  a  friend  who 
had  once  worn  a  full  beard  but  had  shaved.  My 
greeting  was  "Hello,  friend  A;  I  came  near  not 
knowing  you." 

"Quills"  were  made  in  two  sets.  They  were 
known  as  a  "Little  Set  of  Quills"  and  a  "Big  Set 
of  Quills."  There  were  five  reeds  in  the  Little 
Set  but  I  do  not  know  how  many  there  were  in  a 
Big  Set.  I  think  there  were  more  than  twice  as 
many  as  in  a  Little  Set.  I  have  inserted  a  cut  of  a 
Little  Set  of  "Quills."  (Figure  I.)  The  fact  that  I 
304 


NEGRO  FOLK  RHYMES 

was  in  the  class  of  "The  Little  Boy  Who  Couldn't 
Count  Seven"  when  I  saw  and  handled  quills  makes 
it  necessary  to  explain  how  it  comes  that  I  am  sure 
of  the  number  of  "Quills"  in  a  "Little  Set."  I  re- 
call the  intricate  tune  that  could  be  played  only  by 

A  LITTLE  SET  OF  QUILLS 


FIGURE  I 

the  performer's  putting  in  the  lowest  pitched  note 
with  his  voice.  I  am  herewith  presenting  that  tune, 
and  "blocking  out"  the  voice  note  there  are  only  five 
notes  left,  thus  I  know  there  were  five  "Quills"  in 
the  set.  I  thought  a  tune  played  on  a  "Big  Set" 
305 


NEGRO  FOLK  RHYMES 

might  be  of  interest  and  so  I  am  giving  one  of  those 
also.  If  there  be  those  who  would  laugh  at  the 
crudity  of  "Quills"  it  might  not  be  amiss  to  remem- 
ber in  justice  to  the  inventors  that  "Quills"  consti- 
tute a  pipe  organ  in  its  most  rudimentary  form. 

TUNE  PLAYED  ON  A  LITTLE  SET  OF  QUILLS 


TUNE  PLAYED  ON  A  BIG  SET  OF  QUILLS 


NEGRO  FOLK  RHYMES 

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D.C.toft 


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The  "tr'angle"  or  triangle  mentioned  as  the  pther 
primitive  instrument  used  by  the  rabbit  and  fox  in 
serenading  King  Deer's  family  was  only  the  U- 
shaped  iron  clives  which  with  its  pin  was  used  for 
hitching  horses  to  a  plow.  The  ante-bellum  Negro 
often  suspended  this  U-shaped  clives  by  a  string  and 
beat  it  with  its  pin  along  with  the  playing  on 
"Quills"  much  after  the  order  that  a  drum  is  beaten. 
These  crude  instruments  produced  music  not  of  ua- 
307 


NEGRO  FOLK  RHYMES 

pleasant  strain  and  inspired  the  production  of  some 
of  the  best  Negro  Rhymes. 

I  would  next  consider  for  a  little  the  origin  of 
the  subject  matter  found  in  Negro  Rhymes.  When 
the  Negro  sings  "Master  Is  Six  Feet  One  Way"  or 
"The  Alabama  Way"  there  is  no  question  where  the 
subject  matter  came  from.  But  when  he  sings  of 
animals,  calling  them  all  "Brother"  or  "Sister,"  and 
"Bought  Me  a  Wife,"  etc.,  the  origin  of  the  con- 
ception and  subject  matter  is  not  so  clear.  I  now 
come  to  the  question:  From  whence  came  such 
subject  matter? 

First  of  all,  Mr.  Joel  Chandler  Harris,  in  his 
introduction  to  "Nights  with  Uncle  Remus,"  has 
shown  that  the  Negro  stories  of  our  country  have 
counterparts  in  the  Kaffir  Tales  of  Africa.  He 
therefore  leaves  strong  grounds  for  inference  that 
the  American  Negroes  probably  brought  the  dim  out- 
lines of  their  Br'er  Rabbit  stories  along  with  them 
when  they  came  from  Africa.  I  have  already  pointed 
out  that  some  of  the  Folk  Rhymes  belong  to  these 
Br'er  Rabbit  stories.  Since  the  origin  of  the  sub- 
ject mattei  of  one  is  the  origin  of  the  subject  mat- 
ter of  the  other,  it  follows  that  we  are  reason- 
ably sure  of  the  origin  of  such  Folk  Rhymes  because 
of  the  "counterpart"  data  presented  by  Mr.  Harris. 

308 


NEGRO  FOLK  RHYMES 

But  I  have  been  fortunate  enough  recently  to  secure 
direct  evidence  that  one  of  the  American  Negro 
stories  recorded  by  Mr.  Harris  came  from  Africa. 

While  collecting  our  Rhymes,  I  asked  Dr.  C.  C. 
Fuller  of  the  South  African  Mission,  at  Chikore, 
Melsetter,  Rhodesia,  Africa,  for  an  African  Rhyme 
in  Chindau.  I  might  add  parenthetically:  I  have 
never  seen  pictures  of  a  cruder  or  more  primitive 
people  than  these  people  who  speak  Chindau.  He 
obtained  and  sent  me  the  Rhyme  "The  Turkey 
Buzzard"  found  in  our  Foreign  Section.  It  was 
given  to  him  by  the  Reverend  J.  E.  Hatch  of  the 
South  African  General  Mission.  Along  with  this 
rhyme  came  the  following  in  his  kind  and  obliging 
letter:  "We  thought  the  story  of  how  the  Croco- 
dile got  its  scaly  skin  might  be  of  interest  also" : 
"Why  the  Crocodile  Has  a  Hard,  Scaly  Skin." 
"Long  ago  the  Crocodile  had  a  soft  skin  like  that 
of  the  other  animals.  He  used  to  go  far  from  the 
rivers  and  catch  animals  and  children  and  by  so  do- 
ing annoyed  the  people  very  much.  So  one  day  when 
he  was  far  away  from  water,  they  surrounded  him 
and  set  the  grass  on  fire  on  every  side,  so  that  he 
could  not  escape  to  the  river  without  passing 
through  the  fire.  The  fire  overtook  him  and 
scorched  and  seared  his  back,  so  that  from  that  day 
309 


NEGRO  FOLK  RHYMES 

his  skin  has  been  hard  and  scaly,  and  he  no  longer 
goes  far  from  the  rivers." 

This  is  about  as  literal  an  outline  of  the  Ameri- 
can Negro  story  "Why  the  Alligator's  Back  is 
Rough"  as  one  could  have.  The  slight  difference  is 
that  the  direct  African  version  mixes  people  in  with 
the  plot.  This  along  with  Mr.  Harris's  evidences 
practically  establishes  the  fact  that  the  Negro  ani- 
mal story  outlines  came  with  the  Negroes  them- 
selves from  Africa  and  would  also  render  it  practi- 
cally certain  that  many  animal  rhymes  came  in  the 
same  way  since  these  Rhymes  in  many  cases  accom- 
pany the  stories. 

Then  there  are  Rhymes,  not  animal  Rhymes, 
which  seem  to  carry  plainly  in  their  thought  con- 
tent a  probable  African  origin.  In  the  Rhyme, 
"Bought  Me  a  Wife,"  there  is  not  only  the  men- 
tioning of  buying  a  wife,  but  there  is  the  setting 
forth  of  feeding  her  along  with  guineas,  chickens, 
etc.,  out  under  a  tree.  Such  a  conception  does  not 
fit  in  with  American  slave  life  but  does  fit  into 
widely  prevailing  conditions  found  in  Africa. 

Read  the  last  stanza  of  "Ration  Day,"  where  the 

slave  sings  of  going  after  death  to  a  land  where  there 

are  trees  that  bear  fritters  and  where  there  are  ponds 

of  honey.     Surely  there  is  nothing  in  America  to 

310 


NEGRO  FOLK  RHYMES 

suggest  such  thoughts,  but  such  thoughts  might  have 
come  from  Africa  where  natives  gather  their  fruit 
from  the  bread  tree  and  dip  it  into  honey  gathered 
from  the  forests. 

Read  "When  My  Wife  Dies."  This  is  a  Dance 
Rhyme  Song.  When  the  Rhymer  chants  in  seem- 
ingly light  vein  in  our  hearing  that  he  will  simply 
get  another  wife  when  his  wife  dies,  we  turn  away 
our  faces  in  disgust,  but  we  turn  back  almost 
amazed  when  he  announces  in  the  immediately  suc- 
ceeding lines  that  his  heart  will  sorrow  when  she  is 
gone  because  none  better  has  been  created  among 
women.  The  dance  goes  on  and  we  almost  see  grim 
Death  himself  smile  as  the  Rhymer  closes  his  Dance 
Song  with  directions  not  to  bury  him  deep,  and  to 
put  bread  in  his  hand  and  molasses  at  his  feet  that 
he  may  eat  on  the  way  to  the  "Promised  Land." 

If  you  had  asked  a  Negro  boy  in  the  days  gone  by 
what  this  Dance  Rhyme  Song  meant,  he  would  have 
told  you  that  he  didn't  know,  that  it  was  simply  an 
old  song  he  had  picked  up  from  somewhere.  Thus 
he  would  go  right  along  thoughtlessly  singing  or  re- 
peating and  passing  the  Rhyme  to  others.  The  danc- 
ing over  the  dead  and  the  song  which  accompanied 
it  certainly  had  no  place  in  American  life.  But  do 
you  ask  where  there  was  such  a  place?  Get  Dr. 
311 


NEGRO  FOLK  RHYMES 

William  H.  Sheppard's  "Presbyterian  Pioneers  in 
Congo"  and  read  on  page  136  the  author's  descrip- 
tion of  the  behavior  of  the  Africans  in  Lukenga's 
Land  on  the  day  following  the  death  of  one  of  their 
fellow  tribesmen.  It  reads  in  part  as  follows:  "The 
next  day  friends  from  neighboring  villages  joined 
with  these  and  in  their  best  clothes  danced  all  day. 
These  dances  are  to  cheer  up  the  bereaved  family 
and  to  run  away  evil  spirits."  Dr.  Sheppard  also 
tells  us  that  in  one  of  the  tribes  in  Africa  where 
he  labored,  a  kind  of  funnel  was  pushed  down  into 
the  grave  and  down  this  funnel  food  was  dropped 
for  the  deceased  to  feed  upon.  I  have  heard  from 
other  missionaries  to  other  parts  of  Africa  similar 
accounts.  The  minute  you  suppose  the  Rhyme 
"When  My  Wife  Dies"  to  have  had  its  origin  in 
Africa,  the  whole  thought  content  is  explained.  Of 
course  the  stanza  concerning  the  pickling  of  the 
bones  in  alcohol  is  probably  of  American  origin  but 
I  doubt  not  that  the  thought  of  the  "key  verses" 
came  from  Africa. 

These  Rhymes  whose  thought  content  I  have  just 
discussed  I  consider  only  illustrative  of  the  many 
Rhymes  whose  thought  drift  came  from  Africa. 

Many  of  the  Folk  Rhymes  fall  under  the  heading 
commonly  denominated  "Nature  Rhymes."  By  ac- 
312 


NEGRO  FOLK  RHYMES 

tual  count  more  than  a  hundred  and  fifty  recorded 
by  the  writer  have  something  in  their  stanzas  con- 
cerning some  animal.  I  do  not  think  the  makers  of 
these  Rhymes  were  makers  of  Nature  Rhymes  in  the 
ordinary  sense  of  the  term.  It  would  really  be 
more  to  the  point  to  call  them  "Animal  Rhymes" 
instead  of  "Nature  Rhymes."  With  the  exception  of 
about  a  half  dozen  Rhymes  which  mention  some  kind 
of  tree  or  plant,  all  the  other  Rhymes  with  Nature 
allusions  pertain  to  animals.  The  Uncle  Remus 
stories  recorded  by  Joel  Chandler  Harris  are  prac- 
tically all  animal  stories.  I  have  said  in  my  fore- 
going discussion  that  the  Negro  communed  with  Na- 
ture and  she  gave  him  Rhymes  for  amusement.  This 
is  true,  but  when  we  say  "communed"  we  simply  ex- 
press a  vague  intangible  something  the  existence  of 
which  lives  somewhere  in  a  kind  of  mental  fiction. 

Though  I  was  brought  up  with  the  Rhymes  I 
make  no  pretensions  that  I  really  know  why  so  many 
of  them  were  made  concerning  the  animal  world.  I 
have  heard  no  Negro  tradition  on  this  point.  I  have 
thought  much  on  it  and  I  now  beg  the  reader  to 
walk  with  me  over  the  peculiar  paths  along  which 
my  mind  has  swept  in  its  search  for  the  truth  of 
this  mystery  of  Animal  Rhyme. 

Before  the  great  American  Civil  War  the  Negro 
313 


NEGRO  FOLK  RHYMES 

slave  preachers  could  not,  as  a  class,  read  and  they 
were  taught  their  Bible  texts  by  white  men,  com- 
monly their  owners.  The  texts  taught  them  em- 
braced most  of  the  central  truths  of  our  Bible.  The 
subjects  upon  which  the  ante-bellum  Negro  preached, 
however,  were  comparatively  few.  Of  course  a  very 
few  ante-bellum  Negro  preachers  could  read.  In 
case  of  these  individuals  their  texts  and  subjects  were 
scarcely  limited  by  the  "lids"  of  the  Bible.  I  heard 
scores  of  these  men  preach  in  my  childhood  days. 

The  following  subjects  embrace  about  all  those 
known  to  the  average  of  these  slave  preachers. 
i.  Joshua.  2.  Samson.  3.  The  Ark.  4.  Jacob.  5. 
Pharaoh  and  Moses.  6.  Daniel.  7.  Ezekiel — vision 
of  the  valley  of  dry  bones.  8.  Judgment  Day.  9. 
Paul  and  Silas  in  jail.  10.  Peter,  n.  John's  vision 
on  the  Isle  of  Patmos.  12.  Jesus  Christ — his  love 
and  his  miracles.  13.  "Servants,  obey  your  Mas- 
ters." 

Now  it  is  strange  enough  that  the  ignorant  slave, 
while  adopting  his  Master's  religious  topics,  refused 
to  adopt  his  hymns  and  proceeded  to  make  his  own 
songs  and  to  cluster  all  these  songs  in  thought  around 
the  Bible  subjects  with  which  he  was  acquainted.  If 
the  reader  will  get  nearly  any  copy  of  Jubilee  Songs 
he  will  find  that  the  larger  number  group  themselves 
314 


NEGRO  FOLK  RHYMES 

about  Jesus  Christ  and  the  others  cluster  about 
Moses,  Daniel,  Judgment  Day,  etc.,  subjects  par- 
tially known  and  handled  by  the  preachers  in  their 
sermons.  There  is  just  one  exception.  There  is  no 
Jubilee  Song  on  "Servants,  obey  your  Masters." 
We  shall  leave  for  the  "feeble"  imagination  of  the 
reader  the  reason  why.  The  Negroes  practically  left 
out  of  their  Jubilee  Songs,  Jeremiah,  Job,  Abraham, 
Isaac,  Solomon,  Samuel,  Ezra,  Mark,  Luke,  John, 
James,  The  Psalms,  The  Proverbs,  etc.,  simply  be- 
cause these  subjects  did  not  fall  among  those  taught 
them  as  preaching  subjects. 

Now  let  us  consider  for  a  while  the  Negro's  re- 
ligion in  Africa.  Turning  to  Bettanny's  "The 
World's  Religions"  we  learn  the  following  facts 
about  aboriginal  African  worship. 

The  Bushmen  worshiped  a  Caddis  worm  and  an 
antelope  (a  species  of  deer).  The  Damaras  believed 
tkat  they  and  all  living  creatures  descended  from  a 
kind  of  tree  and  they  worshiped  that  tree.  The 
Mulungu  worshiped  alligators  and  lion-shaped 
idols.  The  Fantis  considered  snakes  and  many  other 
animals  messengers  of  spirits-.  The  Dahomans  wor- 
shiped snakes,  a  silk  tree,  a  poison  tree  and  a  kind 
of  ocean  god  whom  they  called  Hu. 

Now  turning  our  attention  to  Negro  Folk 
315 


NEGRO  FOLK  RHYMES 

Rhymes  we  find  them  clustering  around  the  animals 
of  aboriginal  African  Folk  worship.  The  Negro 
stories  recorded  by  Mr.  Harris  center  around  these 
animals  also.  In  the  Folk  Rhyme  "Walk  Tom  Wil- 
son" our  hero  steps  on  an  alligator.  In  "The  Ark" 
the  lion  almost  breaks  out  of  his  enclosure  of  palings. 
In  one  rhyme  the  snake  is  described  as  descended 
from  the  Devil  and  then  the  Devil  figures  promi- 
nently in  many  Rhymes.  Then  we  have  "Green 
Oak  Tree  Rocky-o"  answering  to  the  tree  worship. 

I  have  placed  in  our  collection  of  Rhymes  a  small 
foreign  section  including  African  Rhymes.  I  have 
recorded  precious  few  but  those  few  are  enough 
to  show  two  things.  ( i )  That  the  Negro  of  savage 
Africa  has  the  rhyme-making  habit  and  probably 
has  always  had  it,  and  thus  the  American  Negro 
brought  this  habit  with  him  to  America.  (2)  That 
a  small  handful  from  darkest  Africa  contains  stanzas 
on  the  owl,  the  frog,  and  the  turkey  buzzard  just 
like  the  American  rhymes. 

Knowing  that  the  Negro  made  rhymes  in  Africa, 
and  knowing  that  he  centered  his  Jubilee  Song 
words  around  his  American  Christian  religion,  is  it 
not  reasonable  to  suppose  that  he  centered  his  sec- 
ular or  African  Rhymes  around  his  African  re- 
ligion? He  must  have  done  so  unless  he  changed 

316 


NEGRO  FOLK  RHYMES 

all  his  rhyme-making  habits  after  coming  to  Amer- 
ica, for  he  certainly  clustered  his  American  verse 
largely  around  his  religion.  Assuming  this  to  be 
true  the  large  amount  of  animal  lore  in  Negro 
rhyme  and  story  is  at  once  explained. 

Possibly  the  greatest  hindrance  to  one's  coming 
to  this  conclusion  is  the  fact  that  the  Rabbit  and 
some  other  animals-  found  in  Negro  rhyme  and  story 
do  not  appear  in  the  records  among  those  wor- 
shiped by  aboriginal  Africans.  The  known  record 
of  the  Africans'  early  religion  covers  only  a  very  few 
pages.  Christians  have  not  been  willing  to  spend  any 
time  to  speak  of  in  investigating  the  religions  of  the 
primitive  and  the  lowly.  Thus  if  these  animals  were 
widely  worshiped  it  would  not  be  strange  if  we 
should  never  have  heard  of  it.  Let  us  consider 
what  is  known,  however. 

Taking  up  the  matter  of  the  rabbit  Mr.  John 
McBride,  Jr.,  had  a  very  fine  and  lengthy  discus- 
sion on  "Br'er  Rabbit  in  the  Folk  Tales  of  the  Negro 
and  other  Races"  in  The  Sewanee  Review,  April, 
1911.  On  page  201  of  that  journal's  issue  we  find 
these  words:  "Among  the  Hottentots,  for  example, 
there  is  a  story  in  which  the  hare  appears  in  the 
moon  and  of  which  several  versions  are  extant.  The 
story  goes  that  the  moon  sent  the  hare  to  the  earth 
317 


NEGRO  FOLK  RHYMES 

to  inform  men  that,  as  she  died  away  and  rose  again, 
so  should  all  men  die  and  again  come  to  life,"  etc. 
I  drop  the  story  here  because  so  much  of  it  suffices 
my  purpose.  It  brings  out  the  fact  that  the  Afri- 
can here  had  probably  truly  considered  the  Rab- 
bit as  a  messenger  of  the  moon.  Now  the  fact  that 
the  Hottentots  were  thus  talking  in  lore  of  receiv- 
ing messages  concerning  immortality  from  the  moon 
means  there  must  have  been  at  least  a  time  in  their 
history  when  they  considered  the  Moon  a  kind  of 
super-being,  a  kind  of  god. 

I  quote  again  from  Dr.  Sheppard's  "Presby- 
terian Pioneers  in  Congo,"  page  113.  "King  Lu- 
kenga  offers  up  a  sacrifice  of  a  goat  or  lamb  on 
every  new  moon.  The  blood  is  sprinkled  on  a  large 
idol  in  his  own  fetich  house,  in  the  presence  of  all  his 
counselors.  This  sacrifice  is  for  the  healthfulness  of 
all  the  King's  country,  for  the  crops,"  etc. 

I  think  after  considering  the  foregoing  one  will  see 
that  there  are  those  of  Africa  who  connect  their  wor- 
ship with  the  moon.  We  learn  also  that  there  are 
those  who  claim  the  rabbit  to  be  the  moon's  mes- 
senger. From  this,  if  we  should  accept  the  theory 
for  Animal  Rhymes  advanced,  we  would  easily  see 
why  the  rabbit  as  a  messenger  of  a  god  or  gods 
would  figure  so  largely  in  Rhyme  and  in  story.  We 

318 


NEGRO  FOLK  RHYMES 

also  would  easily  see  how  and  why  as  a  messenger 
of  a  god  he  would  become  "Brother  Rabbit."  If 
one  will  read  the  little  Rhyme  "Jaybird"  he  will 
notice  that  the  rhymer  places  the  intelligence  of  the 
rabbit  above  his  own.  Our  theory  accounts  for  this. 

I  would  next  consider  the  frog,  but  I  imagine  I 
hear  the  reader  saying:  "That  is  not  a  beginning. 
How  about  your  bear,  terrapin,  wolf,  squirrel,  etc.  ?" 

Seeing  that  I  am  faced  by  so  large  an  array  of 
animals,  I  beg  the  reader  to  walk  with  me  through 
just  one  more  little  path  of  thought  and  with  his 
consent  I  shall  leave  the  matter  there. 

We  see,  in  two  of  our  African  Rhymes,  lines  on  a 
buzzard  and  an  owl;  yet  these  African  natives  do 
not  worship  these  birds.  The  American  Negro  chil- 
dren of  my  childhood  repeated  Folk  Rhymes  con- 
cerning the  rabbit,  the  fox,  etc.,  without  any  thought 
whatever  of  worshiping  them.  These  American 
children  had  received  the  whole  through  dim  tradi- 
tional rhymes  and  stories  and  engaged  in  passing 
them  on  to  others  without  any  special  thought.  The 
uncivilized  and  the  unlettered  hand  down  everything 
by  word  of  mouth.  Religion,  trades,  superstition, 
medicine,  sense,  and  nonsense  all  flow  in  the  same 
stream  and  from  this  stream  all  is  drunk  down  with- 
out question.  If  therefore  the  Negro's  rhyme-clus- 
319 


NEGRO  FOLK  RHYMES 

tering  habit  in  America  was  the  same  as  it  had  ever 
been  and  the  centering  of  rhymes  about  animals  is 
due  to  a  former  worship  of  them  in  Africa,  the 
verses  would  include  not  only  the  animals  worshiped 
in  modern  Africa  but  in  ancient  Africa.  The  verses 
would  take  in  animals  included  in  any  accepted 
African  religion  antedating  the  comparatively  recent 
religions  found  there. 

The  Bakuba  tribe  have  a  tradition  of  their  origin. 
Quoting  from  Dr.  Sheppard's  book  again,  page  114, 
we  have  the  following:  "From  all  the  information 
I  can  gather,  they  (the  Bakuba)  migrated  from  the 
far  North,  crossed  rivers  and  settled  on  the  high 
table  land."  Here  is  one  tradition,  standing  as  a 
guide  post,  with  its  hand  pointing  toward  Egypt.  A 
one  fact  premise  practically  never  forms  a  safe  basis 
for  a  conclusion,  but  when  we  couple  this  tradition 
with  the  fact  that,  so  far  as  we  know,  men  origi- 
nated in  Southwest  Asia  and  therefore  probably 
came  into  Africa  by  way  of  the  Isthmus  of  Suez,  I 
think  the  case  of  the  Bakuba  hand  pointing  toward 
a  near  Egyptian  residence  a  strong  one.  Now  turn 
to  your  Encyclopedia  Britannica,  Vol.  X,  ninth  edi- 
tion, with  American  revisions  and  additions,  to  the 
article  on  "Glass,"  page  647.  Near  the  bottom  of 
the  second  column  on  that  page  we  read:  "The 
320 


NEGRO  FOLK  RHYMES 

Phoenicians  probably  derived  this  knowledge  of  the 
art  (of  glass  making)  from  Egypt.  *  *  *  It  seems 
probable  that  the  earliest  products  of  the  industry  of 
Phoenicia  in  the  art  of  glass  making  are  the  colored 
beads  which  have  been  found  in  almost  all  parts 
of  Europe,  in  India,  and  other  parts  of  Asia,  and  in 
Africa.  The  "aggry"  beads  so  much  valued  by  the 
Ashantees  and  other  natives  of  that  part  of  Africa 
which  lies  near  the  Gold  Coast,  have  probably  the 
same  origin.  *  *  *  Their  wide  dispersion  may  be 
referred  with  much  probability  to  their  having  been 
objects  of  barter  between  the  Phoenician  merchants 
and  the  barbarous  inhabitants  of  the  various  coun- 
tries with  which  they  traded."  Here  are  evidences, 
then,  that  the  African  in  his  prehistoric  days  traded 
with  somebody  who  bartered  in  beads  of  Phoenician 
or  Egyptian  make.  I  say  Egyptian  or  Phoenician 
because  if  the  Phoenicians  got  this  art  from  the 
Egyptians  I  think  it  would  be  very  difficult  for  those 
who  lived  thousands  of  years  afterward  to  be  sure  in 
which  country  a  specific  bead  was  made,  the  art  as 
practiced  by  one  country  being  a  kind  of  copy  of  the 
art  as  practiced  in  the  other  country.  With  the  his- 
toric record  that  the  Phoenicians  were  the  great 
traders  of  the  Ancient  World  our  writers  attributed 
the  carrying  of  the  beads  into  Africa,  among  the  na- 
321 


NEGRO  FOLK  RHYMES 

tives,  to  the  Phoenicians.  Without  questioning  these 
time-honored  conclusions,  we  do  know  that  Egyp- 
tian caravans  still  make  journeys  into  the  interior  of 
Africa  for  the  purpose  of  trade.  Shall  we  think  this 
trading  practice  on  the  part  of  Egypt  in  Africa  one 
of  recent  origin  or  probably  one  that  runs  back 
through  the  centuries?  I  see  no  reason  for  believ- 
ing this  trading  custom  to  be  other  than  an  ancient 
one.  If  the  ancient  Egyptians  traded  with  the  sur- 
rounding Africans  and  these  Africans  gradually  mi- 
grated South,  as  is  stated  in  the  Bakuba  tradition, 
the  whole  matter  of  how  all  kinds  of  animals  got 
mixed  into  Negro  Folk  Rhymes  by  custom  becomes 
clear.  It  also  will  explain  how  animal  worship  got 
scattered  throughout  Africa,  for  it  is  the  unbroken 
history  of  the  world  that  traders  of  a  race  superior 
in  attainment  always  somehow  manage  to  carry- 
along  their  religion  to  the  race  inferior  in  attain- 
ment. The  religious  emissaries  generally  follow 
along  in  the  wake  of  the  traders.  If  wre  make  the 
assumption,  on  the  foregoing  grounds,  that  the  very 
ancient  African  Negro  got  in  touch  with  the  re- 
ligion of  Ancient  Egypt,  then  the  appearance  of  the 
frog,  birds,  etc.,  in  Negro  Rhyme  is  explained,  for  if 
we  read  the  lists  of  animal  gods  of  Ancient  Egypt 
and  the  animal  states  through  which  spirits  were 
322 


NEGRO  FOLK  RHYMES 

supposed  to  pass,  we  have  no  trouble  finding  the  list 
of  animals  extolled  in  Negro  rhyme  and  story. 

If  Negro  Rhyme  has  always  centered  about  Ne- 
gro religion,  then  when  the  Negro  was  brought  to 
America  and  began  changing  his  religion,  he  should 
have  had  some  songs  or  rhymes  on  the  dividing  line 
between  the  old  and  the  new.  In  other  words,  there 
ought  to  be  connecting  links  between  "secular"  Folk 
Rhymes  and  Jubilee  Songs,  songs  that  by  nature  par- 
take of  both  types.  This  must  happen  in  order  to  be 
in  accord  with  the  law  of  the  presence  of  connecting 
links  where  evolution  produces  a  new  type  from  an 
old  one.  By  using  the  procedure  under  Mendel's 
law  of  mating  like  descendants  from  a  cross  between 
two  and  by  eliminating  those  who  do  not  reproduce 
constant  to  the  type  which  we  are  trying  to  produce, 
we  can  produce  a  new  and  constant  type  in  the  third 
succeeding  generation  of  descendants. 

Now  the  Negro  slave  turned  quickly  in  America 
from  heathenism  to  Christianity.  This  was  accom- 
plished through  white  Christians  correcting  and 
criminating  all  thoughts  and  productions  which 
hovered  on  the  border  line  between  heathen  ideals 
and  Christianity.  They  used  the  Mendelian  proce- 
dure of  eliminating  all  crosses  that  did  not  give  a 
product  with  Christian  characteristics  and  thui  nec- 
323 


NEGRO  FOLK  RHYMES 

essarfly  eliminated  Rhymes  or  songs  of  the  connect- 
ing link  type.  They  did  a  good  thorough  job  but 
the  writer  believes  he  sees  two  connecting  links  that 
escaped  their  sensitive  ears  and  sharp  eyes.  They 
are  Jubilee  songs;  one  is  "Keep  inching  along  like  a 
poor  inch  worm,  Jesus  will  come  by-and-by,"  the 
other  is  "Go  chain  the  lion  down  before  the  Heaven 
doors  close." 

The  reader  will  recall  that  I  have  already  shown 
that  the  worm  and  the  lion  were  connected  with  na- 
tive African  worship.  Of  course  we  all  know  quite 
well  that  a  "Caddis  worm"  is  not  an  "Inch  worm," 
but  for  a  man  trying  to  turn  from  the  old  to  the 
new,  from  idolatry  to  Christianity,  a  closer  relation 
than  this  might  not  be  very  comfortable  neutral 
ground. 

The  following  Folk  Rhymes  found  in  our  collec- 
tion might  also  pass  for  connecting  links:  "Jaw- 
bone," "Outrunning  the  Devil,"  "How  to  Get  to 
Glory  Land,"  "The  Ark,"  "Destinies  of  Good  and 
Bad  Children,"  "How  to  Keep  or  Kill  the  Devil," 
"Ration  Day,"  and  "When  My  Wife  Dies."  The 
superstitions  of  the  Negro  Rhymes  are  possibly  only 
fossils  left  in  one  way  or  another  by  ancient  native 
African  worship. 

In  a  few  Rhymes  the  vice  of  stealing  is  either 
324 


NEGRO  FOLK  RHYMES 

laughed  at,  or  apparently  laughed  at.  Such  Rhymes 
carry  on  their  face  a  strictly  American  slave  origin. 
An  example  is  found  in  "Christmas  Turkey."  If 
one  asks  how  I  know  its  origin  to  be  American,  the 
answer  is  that  the  native  African  had  no  such  thing 
as  Christmas  and  turkeys  are  indigenous  to  America. 
In  explanation  of  the  origin  of  these  "stealing" 
Rhymes  I  would  say  that  it  was  never  the  Negro 
slave's  viewpoint  that  his  hard-earned  productions 
righteously  belonged  to  another.  His  whole  view- 
point in  all  such  cases,  where  he  sang  in  this  kind  of 
verse,  is  well  summed  up  in  the  last  two  lines  of  this 
little  Rhyme  itself : 

"I  tuck  mysef  to  my  tucky  roos', 
An'  I  brung  my  tucky  home." 

To  the  Negro  it  was  his  turkey.  This  was  the 
Negro  slave  view  and  accounts  for  the  origin  and 
evolution  of  such  verse.  We  leave  to  others  a  fair 
discussion  of  the  ethics  and  a  righteous  conclusion; 
only  asking  them  in  fairness  to  conduct  the  discus- 
sion in  the  light  of  slave  conditions  and  slave  sur- 
roundings. 

In  a  few  of  the  Folk  Rhymes  one  stanza  will  be 

found  to  be  longer  than  any  of  the  others.    Now  as 

to  the  origin  of  this,  in  the  case  of  those  sung  whose 

tunes  I  happen  to  know,  the  long  stanza  was  used 

325 


NEGRO  FOLK  RHYMES 

as  a  kind  of  chorus,  while  the  other  stanzas  were 
used  as  song  "verses."  I  therefore  think  this  is 
prohably  true  in  all  cases.  The  reader  will  note  that 
the  long  stanza  is  written  first  in  many  cases.  This 
is  because  the  Negro  habitually  begins  his  song  with 
the  Chorus,  which  is  just  the  opposite  to  the  cus- 
tom of  the  Caucasian  who  begins  his  ordinary  songs 
with  the  verse.  This  appears  then  to  be  the  possible 
genesis  of  stanzas  of  unequal  length. 

I  have  written  this  little  treatise  on  the  use,  origin, 
and  evolution  of  the  Negro  Rhyme  with  much  hesi- 
tation. I  finally  decided  to  do  it  only  because  I 
thought  a  truthful  statement  of  fact  concerning 
Negro  Folk  Rhymes  might  prove  a  help  to  those  who 
are  expert  investigators  in  the  field  of  literature  and 
who  are  in  search  of  the  origin  of  all  Folk  literature 
and  finally  of  all  literature.  The  Negro  being  the 
last  to  come  to  the  bright  light  of  civilization  has 
given  or  probably  will  give  the  last  crop  of  Folk 
Rhymes.  Human  processes  being  largely  the  same, 
I  hope  that  my  little  personal  knowledge  of  the 
Negro  Rhymes  may  help  others  in  the  other  larger 
literary  fields. 

I  am  hoping  that  it  may  help  and  I  am  penning 
the  last  strokes  to  record  my  sincere  desire  that  it 
may  in  no  way  hinder. 

326 


GENERAL  INDEX 

PART  I 

PAGE 

A.  B.  C 154 

Alabama  Way,  The 164 

Anchor   Line    87 

Animal    Attire    158 

Animal    Fair    159 

Animal  Persecutors   205 

Ante-bellum   Courtship    Inquiry 135 

Ante-bellum  Marriage  Proposal 137 

Are  You  Careful 203 

Ark,  The    44 

As  I  Went  to  Shiloh 13 

Aspiration     159 

Aunt  Dinah  Drunk 53 

Aunt   Jemima    107 

Awful  Harbingers   149 

Baa!  Baa!  Black  Sheep 27 

Baby  Wants  Cherries 181 

Bad    Features    100 

Banjo    Picking,    The 21 

Bat !    Bat !     202 

Bed-bug    96 

Bitter  Lovers'  Quarrel,  A 127 

Black-eyed  Peas  For  Luck 200 

Blessings     204 

Blindfold  Play  Chant 73 

Bob-White's    Song    155 

Bought  Me  a  Wife 145 

Brag  and  Boast 213 

327 


GENERAL  INDEX 

PAGE 

Bridle  up  a  Rat 157 

Bring  on  your  Hot  Corn 29 

Brother  Ben  and  Sister  Sal 46 

Buck   and   Berry 172 

Buck-eyed    Rabbit!      Whoopee! 175 

Budget,  A   79 

Bull  Frog  Put  on  the  Soldier  Clothes 20 

Butterfly    182 

Captain  Coon  176 

Captain   Dime    5 

Care  in  Bread-making 112 

Caught  by  the  Witch  Play 74 

Chicken  in  the  Bread  Tray 7 

Chicken  Pie    69 

Children's  Seating  Rhyme 179 

Christmas  Turkey    98 

Chuck  Will's  Widow  Song 156 

Clandestine  Letter,  A 136 

Coffee  Grows  on  White  Folks'  Trees 107 

College  Ox,  The 112 

Cooking   Dinner    156 

Cotton-eyed  Joe 32 

Courting   Boy,   The 141 

Courtship     138 

Cow  Needs  a  Tail  in  Fly-time,  The 35 

Crooked  Nose  Jane 99 

Crossing   a   Footlog 109 

Crossing   the   River 6 

Day's  Happenings,  A 125 

Deedle    Dumpling    171 

Devilish  Pigs   24 

Destinies  of  Good  and  Bad  Children 200 

Destitute  Former  Slave  Owners 97 

Did  You  Feed  My  Cow? 78 

Die  in  the  Pig  Pen  Fighting 39 

Dinah's  Dinner  Horn 18 

Do  I  Love  You  ? 129 

328 


GENERAL  INDEX 

PAGE 

Does  Money  Talk? 113 

Don't  Ask  Me  Questions 63 

Doodle  Bug   174 

Don't  Sing  before  Breakfast 186 

Don't  Tell  All  You  Know 214 

Down  in  the  Lonesome  Garden 89 

Drinking  Razor  Soup 211 

Elephant,  The   116 

End  of  Ten  Little  Negroes,  The 163 

Fattening  Frogs  for   Snakes 97 

Fed  From  the  Tree  of  Knowledge 212 

Few  Negroes  by  States,  A 117 

Fine  Plaster,  A 124 

Fishing  Simon   177 

Flap-jacks   196 

Forty-four    71 

Four  Runaway  Negroes;  Whence  They  Came 205 

Fox  and  Geese 40 

Fox  and  Geese  Play 73 

Fox  and  Rabbit  Drinking  Propositions in 

Frightened  Away  from  a  Chicken  Roost 95 

Frog  in  a  Mill  (Guinea  or  Ebo  Rhyme) 167 

Frog  Went  a-Courting 190 

From   Slavery    162 

Full  Pocketbook,   A 99 

Getting  Ten  Negro  Boys  Together 184 

Go  to  Bed 175 

Going  To  Be  Good  Slaves 101 

Goodbye  Ring   171 

Goodbye  Wife   148 

Gooseberry  Wine    41 

Goosie  Gander  Play  Rhyme 75 

Grasshopper  Sense   169 

Grasshopper  Sitting  on  a  Sweet  Potato  Vine 173 

Gray  and  Black  Horses 45 

Great  Owl's  Song,  The 151 

329 


GENERAL  INDEX 

PAGE 

Green   Oak   Tree!      Rocky-o!.. 81 

Guinea  Gall    176 

Half-way  Doings   12o 

Ham  Beats  all  Meat .*  . . .  67 

Harvest   Song    ^ 

Hated  Blackbird  and  Crow,  The 183 

Hawk   and   Chickens 185 

Hawk  and  Chickens  Play 74 

Hawk  and  Buzzard 75 

He  Is  My  Horse 16 

He  Loves  Sugar  and  Tea 84 

He  Paid  Me  Seven  (Parody) 122 

He  Will  Get  Mr.  Coon 28 

Hearsay  114 

Here  Comes  a  Young  Man  Courting 85 

Here  I  Stand 153 

'Hoe  Cake    49 

How  to  Please  a  Preacher 117 

How  to  Plant  and  Cultivate  Seeds 208 

How  to  Get  to  Glory  Land <. 96 

How  to  Keep  or  Kill  The  Devil 104 

How  to  Make  it  Rain 101 

Hunting  Camp,  The 43 

am  not  Going  to  Hobo  Any  More 70 

Am  a  'Round  Town  Gentleman 108 

Love  Somebody   51 

Walked  the  Roads 139 

Went  down  the  Road 50 

Wish  I  Was  an  Appl*. 133 

Would  not  Marry  a  Black  Girl 56 

Would  not  Marry  A  Yellow  Or  A  White  Negro 

Girl  63 

I'd  rather  Be  a  Negro  than  a  Poor  White  Man 42 

If  You  Frown 137 

I'll  Eat  When  I'm  Hungry ,. .  114 

I'll  Get  You,  Rabbit 116 

I'll  Wear  Me  a  Cotton  Dress 118 

330 


GENERAL  INDEX 

PAGE 

In  a  Mulberry  Tree 158 

In  a  Rush , 183 

In   Seventy-six   178 

Independent    209 

Indian   Flea    12 

Invited  to  Take  the  Escort's  Arm 135 

It  Is  Hard  to  Love 132 

Jack  and  Dinah  Want  Freedom 215 

Jackson  Put  the  Kettle  On 17 

Jawbone     12 

Jaybird     14 

Jaybird  Died  with  the  Whooping  Cough 36 

Joe  and  Malinda  Jane 4 

John   Henry    105 

Johnny   Big-foot    93 

Jonah's  Band  Party i 

Judge  Buzzard    16 

Juba    9 

Jump  Jim  Crow 13 

Kept   Busy    109 

Kissing  Song   82 

Kneel   on  This  Carpet 82 

Last  of  Jack,  The 149 

Learn  to  Count 207 

"Let's  Marry"   Courtship 138 

Likes  and  Dislikes 76 

Little  Boy  Who  Couldn't  Count  Seven 160 

Little  Dogs   150 

Little  Negro  Fly,  The 199 

Little  Pickaninny,  A 186 

Little  Red  Hen 37 

Little  Rooster,   The 29 

Little  Sister,  Won't  You  Marry  Me? 90 

Little  Sleeping  Negroes 187 

Looking  for  a  Fight 118 

331 


GENERAL  INDEX 

PAGE 

Love  Is  Just  a  Thing  of  Fancy 2 

Lovers'  Goodnight    129 

Mamma's  Darling   188 

Man  of  Words,  A 208 

Master  is  Six  Feet  One  Way 40 

Master  Killed  a  Big  Bull 126 

Master's  "Stolen"  Coat,  The 62 

Me    and   my   Lover 132 

Miss  Blodger   199 

Miss   Slippy   Sloppy 100 

Miss  Terrapin    and   Miss   Toad 162 

Molly  Cottontail    8 

Mother  Says  I  am  Six  Years  Old 164 

Mourning   Slave   Fiancees 129 

Mudlog  Pond 185 

Mule's  Kick,  The 98 

Mule,  My   19 

Mule's  Nature,  The 108 

My  Baby  180 

My  Dog,  Cuff    150 

My  Fiddle    39 

My  First  and  my  Second  Wife 147 

My  Folks  and  your  Folks 187 

My  Little  Pig    157 

My  Speckled  Hen  170 

My  Wonderful  Travel  55 

Mysterious  Face-washing  174 

Nashville   Ladies,   The 106 

Negro  and  the  Policeman,  The 66 

Negro  Baker  Man 154 

Negroes  Never  Die 1 1 

Negro  Soldiers'  Civil  War  Chant 115 

Nesting    180 

"Newly  Weds,"  The 144 

Nobody  Looking    48 

No  Room  to  Poke  Fun 99 

332 


GENERAL  INDEX 

PAGE 

Off  from  Richmond 15 

Old  Aunt  Kate   179 

Old  Black  Gnats,  The 80 

Old  Gray  Mink    33 

Old  Hen  Cackled,  The 50 

Old  Man  Know-all   211 

Old  Molly  Hare   22 

Old  Section  Boss,   The 64 

Old  Woman  in  the  Hills,  The 54 

On  Top  of  the  Pot 10 

Opossum  Hunt,  An 23 

Our  Old   Mule 112 

Outrunning  the  Devil 103 

Origin  of  the  Snake,  The 165 

Page's  Geese   102 

Parody — He  Paid  Me  Seven 122 

Parody  on  "Now  I  Lay  Me  Down  to  Sleep" 115 

Parody  on  "Reign,  Master  Jesus!  Reign!" 122 

Paying  Debts  with  Kicks 184 

Peep  Squirrel   78 

Periwinkle     201 

Pigtail    153 

Plaster   60 

'Possum  up  the  Gum  Stump 3 

Precious  Things    84 

Presenting  a  Hat  to  Phoebe 140 

Pretty  Little  Girl 172 

Pretty  Little  Pink 127 

Pretty  Pair  of  Chickens,  A 181 

Pretty  Polly  Ann 142 

Promises  of  Freedom 25 

Push  the  Hog's  Feet  under  the  Bed 

Rabbit  Hash 203 

Rabbit  Soup  33 

Raccoon  and  Opossum  Fight 31 

Race-starter's  Rhyme,  A 180 

Raise  a  "Rucus"  Tonight 90 

333 


GENERAL  INDEX 

PAGE 

Randsome  Tantsome   202 

Rascal,  The 106 

Ration   Day    38 

Rattler    46 

Raw  Head  and  Bloody  Bones 174 

Red-head   Woodpecker    178 

Rejected  by  Eliza  Jane 134 

Request  to  Sell,  A 123 

Roses   Red    128 

Run,  Nigger !     Run ! 34 

Sallie    87 

Sam  Is  a  Clever  Fellow 15' 

Sail  Away,  Ladies ! 20 

Salt-rising  Bread 83 

Satan    93 

Self-control     213 

Sex  Laugh 102 

Shake  the  Persimmons  Down 34 

Sheep   and  Goat 17 

Sheep  Shell  Corn 59 

She  Hugged  Me  and  Kissed  Me 131 

Shoo!  Shoo!    i96 

Short  Letter,  A 113 

Sick  Wife,  A 55 

Simon   Slick's  Mule 47 

Slave  Marriage  Ceremony  Supplement 143 

Snail's  Reply,  The 170 

Song  to  the  Runaway  Slave 88 

Sparking  or  Courting 136 

Speak  Softly 214 

Stand  Back,  Black  Man 10 

Stealing  a  Ride 188 

Stick-a-ma-stew    *  55 

Still  Water  Runs  Deep 214 

Still   Water  Creek 2 

Strange  Brood,  A 166 

Strange  Family,  A 17* 

Strange  Old  Woman,  A 178 

334 


GENERAL  INDEX 

PAGE 

Strong  Hands   167 

Sugar  Loaf  Tea 81 

Sugar   in   Coffee 30 

Suze  Ann 68 

Susan  Jane  77 

Susie  Girl   76 

Sweet  Pinks  and  Roses 92 

Tails    5 

Taking   a   Walk 183 

Teaching  Table  Manners 197 

Temperance  Rhyme   209 

That  Hypocrite   210 

"They  Steal"  Gossip no 

This  Sun  is  Hot IO8 

Thrifty  Slave,  The 94 

Tongue,  The    212 

Too  Much  Watermelon 182 

To  Win  a  Yellow  Girl 102 

Town  Bird  and  the  Country  Bird,  The 166 

Training  the  Boy 201 

Tree  Frogs  (Guinea  or  Ebo  Rhyme) 168 

Turkey  Funeral,   A in 

T-U-Turkey    6 

Turtle's   Song,    The 30 

Two  Sick  Negro  Boys 173 

Two  Times  One 121 

Uncle  Jerry  Fants 109 

Uncle   Ned    61 

Vinie     130 

Walk,  Talk,  Chicken  with  your  Head  Pecked 4 

Walk,  Tom  Wilson 68 

Wanted :  Cornbread  and  Coon 37 

War  is  On,  The 207 

Washing  Mamma's  Dishes 189 

Watermelon  Preferred    no 

We'll  Stick  to  the  Hoe 123 

We're  "All  the  Go" 52 

335 


GENERAL  INDEX 

PAGE 

What  Will  We  Do  for  Bacon? 185 

When  I  Go  to  Marry 144 

When  I  Was  a  Roustabout  145 

When  I  Was  a  Little  Boy 168 

When  My  Wife  Dies 26 

Why  Look  at  Me? 113 

Why  the  Woodpecker's  Head  Is  Red 203 

Wild  Hog  Hunt 165 

Wild   Negro   Bill 94 

Willie  Wee 189 

Wind   Bag,   A 101 

Wooing    140 

Year   of   Jubilee 58 

You  Had  Better  Mind  Master 126 

You  Have  Made  Me  Weep 128 

You  Love  your  Girl ." 95 

Young  Master  and  Old  Master 169 

FOREIGN  SECTION  INDEX 

African  Rhymes 

Byanswahn-Byanswahn     219 

Near  Waldo  Teedo  o  mah  nah  mejai 216 

Sai  Boddeoh  Sumpun  Komo 218 

The   Frogs    220 

The  Turkey   Buzzard 220 

The  Owl   217 

Tuba  Blay    217 

A  Philippine  Island  Rhyme 227 

Trinidad  Rhymes 

A  Tom  Cat 226 

Unbelle  Marie  Coolie 225 

Jamaica  Rhyme 

Buscher  Garden    222 

Venezuelan  Rhymes 

A  "Would-be"  Immigrant 224 

Game  Contestants'  Song 223 

336 


GENERAL  INDEX 
PART  II 

PAGE 

A  Study  in  Negro  Folk  Rhymes 228 

COMPARATIVE  STUDY  INDEX 
Love  Songs 

Bitter  Lovers'  Quarrel ;  One  Side 127 

Courting   Boy,    The 141 

It  Is  Hard  to  Love 133 

I  Wish  I  Was  an  Apple 133 

Lover's   Good-night    129 

Me  and  my  Lover 132 

Mourning   Slave    Fiancees 129 

Pretty  Polly  Ann 142 

Rejected   by  Eliza  Jane 134 

Roses  Red   128 

She  Hugged  Me  and  She  Kissed  Me 131 

Vinie     130 

Wooing    140 

You  Have  Made  Me  Weep 128 

You  Love  your  Girl 95 

Dance  Songs 

Ark,  The    44 

Aunt  Dinah  Drunk 53 

Baa!  Baa!    Black  Sheep 27 

Banjo  Picking    21 

Brother  Ben   and  Sister   Sal 46 

Bull  Frog  Put  on  the  Soldier  Clothes 20 

Chicken  Pie    69 

Cotton-eyed  Joe  32 

Cow  Needs  a  Tail  in  Fly-time,  The 35 

Devilish    Pigs    24 

Die  in  the  Pig  Pen  Fighting 39 

Dinah's  Dinner   Horn 18 

Don't  Ask  Me  Questions 63 

337 


COMPARATIVE  STUDY  INDEX 

PAGE 

Forty-four  71 

Fox  and  Geese 40 

Gooseberry  Wine   41 

Gray  and  Black  Horses 45 

Ham  Beats  All  Meat 67 

He  Is  my  Horse 16 

Hoe  Cake   49 

am  not  Going  to  Hobo  Any  More 70 

Love  Somebody   51 

Went  down  the  Road 50 

Would  not  Marry  a  Black  Girl 56 

Would  not  Marry  a  Yellow  qr  a  White  Negro  Girl  63 

Would  rather  Be  a  Negro  than  a  Poor  White  Man  42 

Jack  and  Dinah  Want  Freedom 215 

Jaybird     14 

Jaybird  Died  with  the  Whooping  Cough 36 

Little  Red  Hen 37 

Little  Rooster,  The 29 

Master  is  Six  Feet  One  Way 40 

Master's  "Stolen   Coat,"  The 62 

My  Fiddle 39 

My  Mule    19 

My    Wonderful    Travel 55 

Nobody  Looking    48 

Negro  and  the  Policeman,  The 66 

Off  from  Richmond 15 

Old  Gray  Mink    33 

Old  Hen    Cackled,  The 50 

Old  Molly  Hare 22 

Old  Section  Boss,   The 64 

Old  Woman  in  the  Hills,  The 54 

Opossum    Hunt,   An 23 

Plaster    60 

Promises   of   Freedom 25 

'Possum  up  the  Gum  Stump 3 

338 


COMPARATIVE  STUDY  INDEX 

PAGE 

Rabbit  Soup  33 

Raccoon  and  Opossum  Fight 31 

Ration   Day    38 

Rattler    , 46 

Run,  Nigger !  Run ! 34 

Sail  Away,  Ladies ! 20 

Shake  the  Persimmons  Down 34 

Sheep  Shell  Corn 59 

Sheep   and  Goat X7 

Sick  Wife,  A 55 

Simon   Slick's  Mule 47 

Sugar  in   Coffee 30 

Suze  Ann    £8 

Uncle  Ned    6x 

Walk,  Tom  Wilson 68 

Wanted :  Cornbread  and  Coon 37 

We  Are  "All  the  Go" « 

When   My  Wife   Dies 26 

Year  of  Jubilee ^ 58 

Animal  and  Nature  Lore 

Animal  Attire   158 

Animal  Fair 159 

Animal  Persecutors   205 

Awful  Harbingers   149 

Bob- White's  Song  155 

Bridle  Up  a  Rat 157 

Buck  and  Berry 172 

Buck-eyed  Rabbit !    Whoopee ! 175 

Chuck  Will's  Widow  Song 156 

Frog  in  a  Mill 167 

Frog  Went  a-Courting 190 

Full  Pocketbook,  A 99 

Great  Owl's  Song * 151 

339 


COMPARATIVE  STUDY  INDEX 

PAGE 

Jaybird    14 

Judge  Buzzard   16 

Last  of  Jack,  The 149 

Little  Dogs  1 50 

Man  of  Words,  A 208 

Miss  Terrapin  and  Miss  Toad 162 

My  Dog,  Cuff 150 

My  Speckled  Hen 170 

Molly  Cottontail   8 

Old  Molly  Hare 22 

Origin  of  the  Snake,  The 165 

Snail's  Reply,  The 170 

Strange   Brood,   A 166 

Tails    5 

Town  Bird  and  the  Country  Bird,  The 166 

Turtle's  Song,  The 30 

Why  the  Woodpecker's  Head  is  Red 203 

Nursery  Rhymes 

A.  B.  C 154 

Alabama  Way,  The 164 

Animal   Fair 159 

Are  You  Careful  ? 203 

Aspiration     159 

Awful  Harbingers   149 

Baby  Wants  Cherries 181 

Bat!    Bat!    202 

Black-eyed  Peas  for  Luck 200 

Blessings    204 

Bob-White's  Song 155 

Bridle  Up  a  Rat 157 

Buck-eyed  Rabbit!    Whoopee! 175 

Butterfly    182 

Captain  Coon  176 

Children's  Seating  Rhyme 179 

340 


COMPARATIVE  STUDY  INDEX 

PAGE 

Chuck  Will's  Widow  Song 156 

Cooking  Dinner    1 56 

Crossing  the   River 6 

Deeddle  Dumpling 171 

Destinies  of  Good  and  Bad  Children 200 

Did  You  Feed  My  Cow  ? 78 

Doodle  Bug   174 

Don't  Sing  before  Breakfast 186 

End  of  Ten  Little  Negroes,  The 163 

Fishing  Simon   177 

Flap-jacks     196 

Four  Runaway  Negroes;  Whence  They  Came 205 

From    Slavery    162 

Frog  Went  a-Courting 190 

Getting  Ten  Negro  Boys  Together 184 

Go  to  Bed 175 

Goodbye  Ring  171 

Grasshopper  Sitting  on  a  Sweet  Potato  Vine 173 

Grasshopper-Sense     169 

Great  Owl's  Song,  The 151 

Guinea   Gall    176 

Hated  Blackbird  and  Crow,  The 183 

Hawk  and   Chickens 185 

Here  I  Stand 153 

In  a  Mulberry  Tree 158 

In  a  Rush 183 

In  '76  178 

Judge  Buzzard    16 

Little  Boy  Who  Couldn't  Count  Seven 160 

Little  Dogs  150 

Little  Negro  Fly,  The 199 

Little  Pickaninny,  A 186 

Little  Sleeping  Negroes 187 

Mamma's  Darling   188 

Miss  Blodger , 199 

341 


COMPARATIVE  STUDY  INDEX 

PAGE 

Miss  Terrapin  and  Miss  Toad 162 

Mother  Says  I  am  Six  Years  Old 164 

Mudlog  Pond    185 

My  Baby  180 

My  Dog,  Cuff  150 

My  Folks  and  your  Folks 187 

My  Little  Pig   157 

My  Speckled  Hen 170 

Mysterious  Face-washing 174 

Nesting    180 

Negro  Baker  Man 154 

Old  Aunt  Kate 179 

Origin  of  the  Snake,  The 165 

Paying  Debts  with  Kicks 184 

Periwinkle    201 

Pig-tail    153 

'Possum  up  the  Gum  Stump 3 

Pretty  Little  Girl 172 

Pretty  Pair  of  Chickens,  A 181 

Rabbit  Hash 203 

Rabbit  Soup   33 

Race-Starter's  Rhyme,  A 1 80 

Randsome  Tantsome    202 

Raw  Head  and  Bloody  Bones 174 

Redhead  Woodpecker    178 

Sam  is  a  Clever  Fellow 151 

Shoo !  Shoo !   196 

Stealing    a   Ride 188 

Stick-a-ma-stew     155 

Strange  Family,  A 171 

Strange  Old  Woman,  A 178 

Strong  Hands    167 

Tails    5 

Taking  a  Walk 183 

Teaching  Table  Manners 197 

Turtle's   Song,  The 30 

342 


COMPARATIVE  STUDY  INDEX 

PAGE 

Too  Much  Watermelon 182 

Training  the  Boy 201 

Tree    Frogs    168 

Two  Sick  Negro  Boys 173 

Washing  Mamma's  Dishes 189 

What  Will  We  Do  for  Bacon? 185 

Willie  Wee    189 

Wild  Hog  Hunt 165 

You  Had  Better  Mind  Master 126 

Young  Master  and  Old  Master 169 

Charms  and  Superstitions 

Bat!  Bat!   202 

Black-eyed  Peas  for  Luck 200 

Don't  Sing  before  Breakfast 186 

How  to  Make  it  Rain 101 

Jaybird  14 

My  Speckled  Hen 170 

Molly  Cottontail,  or  Graveyard  Rabbit 8 

Periwinkle     201 

Speak   Softly    214 

Hunting  Songs 

Fox    and    Geese 40 

He  will  Get  Mr.  Coon 28 

Hunting  Camp,  The 43 

Miss  Slippy  Sloppy 100 

Opossum  Hunt,  An 23 

Rattler    46 

Drinking  Songs 

Aunt  Dinah  Drunk 53 

Bring  on  your  Hot  Corn 29 

Little  Red  Hen 37 

Wise  and  Gnomic  Sayings 

Brag   and   Boast 213 

Don't  Tell  All  You  Know 214 

343 


COMPARATIVE  STUDY  INDEX 

PAGE 

Drinking  Razor  Soup 211 

Fed  from  the  Tree  of  Knowledge 212 

How  to  Plant  and  Cultivate  Seeds 208 

Independent    209 

Learn  to  Count 207 

Man  of  Words,  A 208 

Old  Man  Know-all 211 

Self-control   213 

Speak  Softly 214 

Still  Water  Runs  Deep 214 

Temperance  Rhyme  209 

That  Hypocrite  210 

Tongue,  The   212 

War  is  On,  The 207 

Harvest  Songs 
Harvest  Song 57 

Biblical  and  Religious  Themes 

Ark,  The    44 

How  to  Keep  or  Kill  the  Devil 104 

Jawbone    12 

Jonah's  Band i 

Satan    93 

Play  Songs 

Budget,   A    79 

Anchor  Line  87 

Did  You  Feed  my  Cow  ? 78 

Down  in  the  Lonesome  Garden 89 

Green  Oak  Tree !    Rocky-o ! 81 

Hawk  and  Buzzard 75 

He  Loves  Sugar  and  Tea 84 

Here  Comes  a  Young  Man  Courting 85 

Kissing  Song   82 

Kneel  on  This  Carpet 82 

Likes    and    Dislikes 76 

Little  Sister,  Won't  You  Marry  Me  ? 90 

Old  Black  Gnats,  The 80 

344 


COMPARATIVE  STUDY  INDEX 

PAGE 

Peep  Squirrel  78 

Precious  Things 84 

Raise  a  "Rucus"  Tonight 90 

Sallie    87 

Salt-rising  Bread    83 

Song  to  the  Runaway  Slave 88 

Sugar   Loaf    Tea 81 

Susan  Jane  77 

Susie  Girl  76 

Sweet  Pinks  and  Roses 92 

Miscellaneous 

Ante-bellum  Courtship  Inquiry 135 

Ante-bellum  Marriage  Proposal 137 

As  I  Went  to  Shiloh 13 

Aunt  Jemima 107 

Bad  Features 100 

Bed-bug    ; 96 

Blindfold  Play  Chant 73 

Bought  Me  a  Wife 145 

Captain  Dime   5 

Care  in  Bread-making 112 

Caught  by  the  Witch  Play 74 

Christmas  Turkey    98 

Clandestine  Letter,  A 136 

Coffee  Grows  on  White  Folks'  Trees 107 

College  Ox,  The 112 

Courtship    138 

Crooked  Nose  Jane 99 

Crossing  a  Footlog 109 

Day's  Happenings,  A 125 

Destitute  Former  Slave  Owners 97 

Do  I  Love  You  ? 129 

Does  Money  Talk? 113 

Elephant,  The  116 

Fattening  Frogs  for  Snakes 97 

Few  Negroes  by  States,  A 117 

345 


COMPARATIVE  STUDY  INDEX 

PAGE 

Fine  Plaster,  A 124 

Fox  and  Geese  Play 73 

Fox  and  Rabbit  Drinking  Proposition m 

Frightened  Away  from  a  Chicken  Roost 95 

Going  to  be  Good  Slaves 101 

Goodbye,   Wife   148 

Goosie  Gander  Play  Rhyme 75 

Half-way  Doings   120 

Hawk  and  Chickens  Play 74 

He  Paid  Me  Seven  (Parody) 122 

Hearsay 114 

How  to  Get  to  Glory  Land 96 

How  to  Please  a  Preacher 117 

If  You  Frown 137 

I'll  Eat  when  I'm  Hungry 114 

I'll  Get  You,  Rabbit 116 

I'll  Wear  Me  a  Cotton  Dress 118 

I  Am  a  'Round  Town  Gentleman 108 

Indian  Flea    12 

Invited  to  Take  the  Escort's  Arm 135 

I  Walked  the  Road 139 

Joe  and  Malinda  Jane 4 

John   Henry    105 

Johnny  Big-foot 93 

Juba    9 

Jump  Jim  Crow 13 

Kept  Busy    109 

Let's  Marry  Courtship 138 

Looking  for  a  Fight 118 

Love  is  Just  a  Thing  of  Fancy 2 

Mule's    Kick,    The 98 

Mule's  Nature,  The 108 

Negroes  Never  Die 1 1 

Negro  Soldier's  Civil  War  Chant 115 

346 


COMPARATIVE  STUDY  INDEX 

PAGE 

"Newly  Weds,"  The 144 

No  Room  to  Poke  Fun 99 

On  Top  of  the  Pot 10 

Our  Old  Mule 112 

Outrunning    the    Devil 103 

Page's  Geese    102 

Parody — He  Paid  Me  Seven 122 

Parody  on  "Now  I  Lay  Me  Down  to  Sleep" 115 

Parody  on  "Reign,  Master  Jesus!  Reign!" 122 

Presenting  a  Hat  to  Phoebe 140 

Pretty  Little  Pink 127 

Rascal,  The   106 

Request  to  Sell,  A 123 

Sex  Laugh 102 

Short  Letter,  A 113 

Slave  Marriage  Ceremony  Supplement 143 

Sparking  or  Courting 136 

Stand  Back,  Black  Man 10 

Still   Water   Creek 2 

"They  Steal"  Gossip no 

This  Sun  is  Hot 108 

Thrifty  Slave,   The 94 

To  Win  a  Yellow  Girl 102 

Turkey  Funeral    m 

T-U-Turkey    6 

Two  Times  One , 121 

Uncle  Jerry  Fants 109 

Walk,  Talk,  Chicken  With  your  Head  Pecked..  4 

We'll  Stick  to  the  Hoe 123 

When  I  Go  to  Marry 144 

When  I  Was  a  Roustabout 145 

Why  Look  at  Me? 113 

Wild  Negro  Bill 94 

Wind  Bag,  A 101 


347 


THE  UNIVERSITY  LIBRARY 
UNIVERSITY  OF  CALIFORNIA,  SANTA  CRUZ 

This  book  is  due  on  the  last  DATE  stamped  below. 


JAN  26  1972 
JAN  2  4  RECT5 


JAN  2  7  72  -7  PM  -V 
M  2  &  72  -5  PH 


JAV 


2  9  71  -2  PM 


3  o  71  -4  P;I 


50m-6, 


•a- 


• 


iOv  T  8  u:73 


APR  4  '85     » 

MAY    1  1985  REC'D 


DEC/ 

APR  1  ft  1992      '» 


:  30  1991 

MAY06l99HtC'0 


PS595.N3T3  1922a 


3  2106  00205  7302 


